Musical imaginative thinking. Thesis: The development of musical thinking of younger students in music lessons

One of the tasks of school musical education is to provide the child with the opportunity to "hear the essential content of music ..., to form ... an ear for music as an organ for searching for unprecedented beauty." A person who has just been born already establishes his connections with the world through intonations. At whatever stage of development the child is, he responds to its emotional expressiveness.

Intonation is a micro-center of thought in a sound structure, an expression of feelings and a plastic outline in a sounding micro-matter. No matter how a person positions himself to the World, no matter how he addresses it, no matter how he perceives the World, he operates with intonations, which are the essence of speech and the essence of music. Intonation, according to V. Medushevsky, is our "artistic self". The intonation sphere unites all types of art, since the origins of music, fine arts, literature, choreography, theater, etc., have an attitude to being, the essence of which can be conveyed in the words of F. Tyutchev: “Everything is in me, and I am in everything! ".

Intonation is also musical-linguistic memory, in which melodic-rhythmic, figurative, plastic and other imprints of the life-cultural experience of mankind are hidden. To comprehend the intonation, to feel its individuality and uniqueness, to feel its image, to penetrate into its innermost nature, to admire the conciseness of the construction, to predict its development is difficult, but incredibly interesting. Revealing the secret of this microstructure, you begin to understand and hear the World more subtly and deeply, as well as understand and hear yourself in this world. Therefore, it is obvious that the development of intonation thinking - the ability to think with intonation and through intonation - is the way of turning a child into himself, into the depths of his soul and his mind, the way of accumulating life experience through music, and, ultimately, one of the surest ways to overcome the spiritual and moral crisis of humanity.

The educational and methodical set "Music", developed by a creative team led by G. P. Sergeeva and E. D. Kritskaya, provides the broadest opportunities for solving the above problems. The concentric structure of the teaching materials, the division into blocks, a diverse associative range allow the formation of an "intonation dictionary" of schoolchildren, based on the understanding of intonation as a pattern of art. The program material is built in such a way that "intonational baggage" is gradually accumulated, and intonation experience is enriched. Purposeful comparisons of different works with similar genre intonations, intonations of a certain style develop musical intuition and significantly increase the quality of music perception.

The basis for the development of children's thinking is the ambiguity of their perception, the multiplicity of interpretations and the variety of "hearing options". The educational and methodical set "Music" constantly pushes the child to search for intonation-figurative connections of music with fine arts, history, literature, sculpture, art photography. Thus, the emphasis in music education based on the UMC "Music" is shifting from the theory and history of music towards the expansion of the child's intonation-figurative baggage, the development of his response to music and the desire to express himself in art. The lessons conducted under this program allow, according to B. Asafiev, "to rejoice, and to be sad, and to feel energy and severe courage in oneself ... not about music or to music, but to experience it in intonations."

The method of “perspectives and retrospectives”, proposed by D. B. Kabalevsky and successfully developed in this UMK, makes it possible to go from the birth of intonation and its development to the embodiment of the image and the disclosure of the ideological orientation of major musical works. Obvious and understandable for the child are those thoughts and feelings that were laid down by the author in major musical forms. Appeal to the intonation sphere allows one to “decipher” the content of the work itself, to understand the result of which an artistic idea is born, to reflect on a certain moral and aesthetic conflict. And only then consider the dramaturgy of the work, the arrangement of musical images, the degree of their conflict and interaction. As a result, intonational thinking is formed as a component of artistic and creative thinking, the child takes the path of search, the path of the creator, comprehends art as a “relationship experience” (S. Kh. Rappoport).

Considering the evolution of musical forms, comparing different interpretations of works and their performance, mastering various layers of musical art (from folklore and religious tradition to modern academic and popular music in their dialogue), a “holistic artistic picture of the world” is gradually built in the minds of students. Appeal to musical art as the experience of generations, living them in their own musical activity allows you to actively shape the emotional and value, moral and aesthetic experience and the experience of musical and artistic creativity.

What, in a practical sense, does a teacher get by teaching a subject on the basis of the teaching material “Music”?

Firstly, children are not afraid to compose music, because the nature of creativity is familiar to them, understandable and familiar. They willingly compose and perform their works. Of course, these are not large musical compositions, but only small forms, but among them there are already songs presented at municipal and federal competitions.

Secondly, children develop creative thinking. The teacher rarely gives the students ready-made theoretical concepts, more often they are comprehended in the course of cooperation and co-creation of the teacher and students, or in the process of independent work in the lesson. For example, in the second grade, the children themselves deduced the patterns of construction of cyclic forms and themselves suggested that the parts of the cycle should be connected either by intonation or melody, then the cycle would acquire greater integrity. And what a pleasure it gave them to follow the changes in the sound of "Walks" in "Pictures at an Exhibition" by M. P. Mussorgsky.

Thirdly, children acquire a kind of “social ear” (B. Asafiev), they better feel the style of the time, the national characteristics of music, and acquire a sense of the “composer's style portrait”.

Fourthly, they are interested in large musical forms. Listening in the elementary grades not to separate fragments of operas, ballets, concertos and symphonies, but to whole actions and parts, in the senior grades - the whole work in full, the work of the soul and mind of the students is visible and the understanding comes that nothing can replace such moments in a person's life, when a person conducts a dialogue with his inner "I", when he learns to live with Music!

BIBLIOGRAPHY:

Medushevsky VV Intonation form of music. - M., 1993. - 265 p.
Sergeeva G. P., Kritskaya E. D. Music: method. allowance. - M., 2005. - 205 p.
Kritskaya E. D., Sergeeva G. P., Shmagina T. S. Methods of working with textbooks "Music" 1-4 cells. - M., 2002. - 206 p.

Bibliographic link

Talalaeva N.V. DEVELOPMENT OF INTONATIONAL THINKING ON THE BASIS OF THE EDUCATIONAL AND METHODOLOGICAL SET "MUSIC" // Fundamental research. - 2008. - No. 5. - P. 125-126;
URL: http://fundamental-research.ru/ru/article/view?id=3002 (date of access: 10/28/2019). We bring to your attention the journals published by the publishing house "Academy of Natural History"

MBUDO Vyazemskaya Children's Art School named after A.S. Dargomyzhsky

METHODOLOGICAL WORK

on the topic: "The development of musical figurative thinking."

Prepared by the teacher

named after A.S. Dargomyzhsky

Kurnosova E. A.

2016

1. How to interest, captivate a child with music.

2. The connection of the world of art with the personal world of the child.

3. Musical literacy.

4. Music and literature.

5. Music and visual arts.

6. Conclusion.

7. Literature.

How to interest, captivate a child with music.

The main goal of modern musical primary education is the moral and aesthetic education and development of the child's personality. All forms of training with him should be aimed at his spiritual development and, above all, educate him in spiritual culture. It is the age of the younger schoolchild, in which the emotional and sensory perception of reality prevails, that is the most favorable in moral and aesthetic education.

The initial teaching of music to children is aimed at developing the musical data of the child. It is at this time that the success of further education is predetermined, which largely depends on the child's desire and interest in classes. If we analyze the path of development of musical data in a child, we will be convinced that the interest shown in sounds lies at the basis. But interest arises not in any arbitrary combination of sounds. This combination should evoke in the child either an emotional experience or a figurative representation that creates a particular mood. Finding the right tone, creating the right atmosphere is the key to a successful lesson. Talk and reason with the student on an equal footing, but do not forget that the child has his own opinion. The joint experience of music is the most important contact, which is often decisive for success. By pulling these invisible threads and awakening response strings in the student, we create the conditions for vivid musical impressions.

Learning with a student is a creative process. Everything that we want to teach should not be dictated, but jointly, as if anew, discovered, including the child in active work - this is the main task of the problem-search method.

Skillfully using this method, you can make the most elementary tasks interesting and exciting. Sometimes we underestimate the child's ability to think and understand, and, wanting to imitate him, fall into a primitive and false tone. Children instantly feel it - it repels them. And then it is pointless to try to arouse in the child an interest in what you offer, since his attention is absorbed by the wrong tone and is closed to the perception of anything else.

It is important to instill confidence in the teacher in the child. From this begins the authority of the teacher, necessary for further work with the child.

From the first lessons, you need to explain to the child that music is a language. Imagine a child goes to school, not knowing the letters, not knowing how to write, and they say to him: "Write an essay on a given topic by tomorrow." The child has horror in his eyes - "I can't do anything." He also comes to music lessons, knowing nothing, and it began - hearing, rhythm, memory and much more "beautiful". (Notes!). And he wants to play right away. Here it is necessary to create conditions so that he wants to learn theoretical terms, so that he wants to develop the skills necessary to master the instrument, so that he hears you. After all, hearing is the ability to hear and comprehend.

At the first lesson, you must definitely put the child behind the instrument. Let them touch the buttons, and explain how the button accordion, the accordion is similar to the human body. Fur is light. The movement of the fur is the breathing of a person, and the sound of the buttons of the right hand is a voice, beautiful and melodious.

What is the most natural way to introduce a student into the world of musical images? The most effective solution to this problem is based on the principle of playful entry into music. It consists in creating situations that require reincarnation from children, the work of fantasy. For example, you can start with pantomime. This activity is useful and interesting for children at any age, especially those who have poor imagination. Since music is an intonational-rhythmic art, it is impossible to achieve the desired result outside the image, that is, to convey the character of the interpreted music. From the first days, exercises and plays associated with specific images should appear in the child's repertoire. Programming and concrete figurativeness are a characteristic feature of children's plays, appearing even in those cases when the program is not indicated.

To visualize the figurative perception of music, you can, for example, perform the musical fairy tales "Gingerbread Man", "Teremok". To solve the images, involve the child. Use different strokes, timbres, show a variety of rhythmic patterns, etc. - the student gets acquainted with the concepts of "mode", "meter", "rhythm", "pitch". To tell new information for the child by playing the instrument. For example, show a kolobok by playing arpeggios in major and minor. Ask the children which bun they like best. Usually they choose a major kolobok. That is, to call for joint creativity. It all depends on the imagination of the teacher.

Work on an artistic image should begin from the very first steps of music. When teaching a child musical notation for the first time, the teacher must, from the signs just learned by the student, draw up the outline of some melody, if possible already familiar (it is more convenient to harmonize the heard with the visible - the ear with the eye), and teach him to reproduce this melody on the instrument.

If the child is already able to reproduce any melody, it is necessary to ensure that this performance is expressive, so that the nature of the performance exactly corresponds to the nature of the given melody. To do this, it is recommended to use folk melodies, in which the emotional and poetic beginning appears much brighter than even in the best instructive compositions for children. As soon as possible, you need to get the child to play a sad melody sadly, a cheerful melody - cheerfully, a solemn melody - solemnly, etc. He would bring his artistic and musical intention to clarity.

The connection of the world of art with the personal world of the child.

You can only remember in music what is understandable and emotionally felt. Therefore, it is so important to show the student the connection between the world of art and his personal world, introducing the child to music on material that is personally significant for him.

The teacher should not impose on the student some unambiguous program correspondence, reducing the flight of children's imagination. The child's initiative is awakened precisely by the images and comparisons that he himself found in joint work with the teacher.

What happens if a child does not play an instructive play, but a real work of art? Firstly, his emotional state will be completely different, elevated compared to what happens when learning dry etudes. Secondly, it will be possible to inspire him with much greater ease (because his own understanding will go towards this suggestion) with what sound, at what tempo, with what nuances, and, consequently, with what “playful” techniques it will be necessary to perform a given work, so that it sounds clear, meaningful and expressive, that is, adequate to its content. This work, the child's work on a musical, artistic and poetic work, will be in its embryonic form a work that characterizes the occupation of a mature performer-artist.

An important role in the development of musical-figurative thinking is played by listening to program music, which includes a system of questions and tasks that help children reveal the figurative content of musical art. It should be, in fact, a dialogue and give children options for creative readings of musical compositions. The question can be expressed through a comparison of musical compositions with each other and through a comparison of musical works of other types of art. The direction of the question is important: it is necessary that he draw the attention of the child not to the calculation of individual means of expression (loudly, quietly, slowly, quickly), but would turn him to his inner world, moreover, to his conscious and unconscious feelings, reactions, impressions, manifested in his soul under the influence of music.

It is important not only to ask children a question, but also to hear an answer, often original, non-stereotypical, because there is nothing richer than a child's statements. And let there be sometimes inconsistency and understatement in it, but on the other hand it will have individuality, personal coloring - this is what the teacher should hear and appreciate.

Only when children feel and realize the nature of music, express it in their creative activity, the acquired skills and abilities will benefit musical development. Children's creativity is based on vivid musical impressions. Listening to music, a child always hears not only what is contained in it, what is inherent in it by the composer (and, of course, the performer), but also what is born under its influence in his soul, in his mind, that is, what which creates already his own creative imagination. Thus, a listened work gives rise to a complex fusion of the objective content of music and its subjective perception. The creativity of the listener joins the creativity of the composer and the creativity of the performer! The imagination of children, especially of primary school age, as a rule, is bright, lively, and they listen to "musical pictures" with pleasure.

For the artistic and figurative development of a child, it is much more valuable to come to a work as a result of one's own creativity. Then the entire figurative content of music, the entire organization and sequence of the musical fabric become "experienced", selected by the children themselves.

Those intonations that children find in the process of their creativity should not necessarily be “customized” as close as possible to the author's original. It is important to get into the mood, into the emotional-figurative sphere of the work. Then, against the background of what the children lived, created by themselves, the author's original becomes one of the possibilities for embodying one or another life content expressed in this musical imagery.

From these positions, it is necessary to pay great attention to the word about music, it should be bright, figurative, but extremely accurate and subtle, so as not to impose on the child his interpretation of the work, skillfully direct his perception, his imagination, his creative fantasy to music, and not from it. .

Musical literacy.

Along with elementary musical notation, there is something more important - this is musical literacy. Musical literacy is, in essence, musical culture, the level of which is not directly dependent on the degree of assimilation of musical notation. Musical literacy is the ability to perceive music as a living, figurative art, born of life and inextricably linked with life. This is the ability to determine the nature of music by ear and feel the inner connection between the nature of music and the nature of its performance. Any kind of art thinks in images, and the image is integral in its artistic nature. And in any artistic image, as in a drop of water, the whole world is reflected. Musical art has its own laws of rhythm, harmony, form, etc. Mastering these laws, the student often goes from the particular to the general. It is necessary to build the educational process not from the specific to the general, but vice versa. Imagery plays a particularly important role in children's musical creativity in the early stages, when the child is developing the basic skills of performing - seating, positioning of hands, sound production. It is through the disclosure of this or that image that the student is able to achieve the correct execution of strokes, touching the keyboard, therefore, in teaching the child, educational material is needed in which technical tasks would be combined with imagery. Such a tool gives amazing results in acquiring the necessary technical skills for students.

With regard to the practical knowledge of young musicians of techniques, the role of rhythm, timbre, mode, etc., it is also difficult to overestimate the importance of the artistic image. For example, in a simple example, ex. "Locomotive", the child is given several concepts at once: the duration of the notes, pauses, their relationship. He gets acquainted with the pictorial intonations in music, at the same time, the concept of music as a temporary art is given, in contrast to other types of art, with which a parallel should be drawn. Pieces with program content play a significant role in the development of timbre-dynamic hearing. Metaphor, the association of an image contributes to the development of auditory imagination.

To play expressively, you need to phrase correctly. A musical phrase can only be played expressively on an instrument if at least three basic conditions are met.1. When the performer is aware of the structure of the phrase (division into motives), its dynamics (beginning, rise, climax, decline) regardless of the instrument; 2) owns the means of the instrument sufficiently to realize his artistic intention; 3) knows how to listen to himself, his performance, as if from the outside, and correct the shortcomings noticed. This specific information is necessary for any performer. The student must determine (first with the help of the teacher) the form of the composition that he is learning, firmly know the tone of the play, the number and names of signs at the key, etc.

Music and Literature.

Literature and music, word and music are two great beginnings, two elements of art. For many centuries, they continuously interact, often argue and fight, often come to agreement and mutual understanding. Their clash and reconciliation sometimes give rise to masterpieces - songs, romances, operas. The poetic text is able to give music a new sound; he enriches it with meaning, shades of feelings, colorful timbres. In the distant past, literature and music formed a single whole.

The imaginative thinking of the child, or rather, the degree of its development, greatly affects the achievements in teaching music. After all, images always express emotions, and emotions are the main content of almost any music.

And for this it is extremely important that he first hears these images in music. But children of the age at which they begin learning music have not yet developed abstract thinking, so sounding music does not always evoke in them an associative series of images close to those with which they are already familiar from their childhood life.

In this regard, it is extremely important to push the child to consciously build bridges between the emotional content of the music he plays and the images, emotions, impressions that he receives from his life experience and from contact with other related arts.

Literature is one of such related and very close to music kinds of arts. Especially when it comes to literary and poetic recitation. There are terms in music: "sentence", "phrase". We also use the concepts: “punctuation marks”, “caesuras”. But the most important thing that unites music with expressive speech and that is one of the main foundations of expressive performance of music is intonation.

The meaning of a literary work is expressed in words, so it is easy for a child to understand the content of the text. In music, this content is manifested much more abstractly, it is hidden behind sounding symbols, and in order to understand the meaning, you need to know the decoding of these symbols.

Expressive intonation is one of the main symbols that convey the emotional context in music. Where did these intonation symbols come from and why are they more or less the same for all peoples (which makes the musical language universal)? The reason here is that they came from our colloquial speech, more precisely, from the intonations that accompany expressive speech. Accordingly, in order for a child to learn to hear these intonations in music, one must first teach him to hear them in ordinary human speech.

Since music is the language of emotions, then the speech from which the intonations are “removed”, copied, must necessarily be emotional. Thus, in order for a musician's playing to be expressive, he must learn expressive, emotional recitation.

If a child knows how to pronounce words emotionally, with expressive intonation, then it will be much easier to bring this intonation into music, and the very meaning of music will become much closer and clearer.

Many folk tales include the singing of characters (for example, Russian folk tales "Teremok", "Kolobok", "Cat, rooster and fox", etc.).

Each fairy-tale hero has his own musical image, which consists of a certain rhythm, pitch of sound, strokes that determine his character.

Music and visual arts.

Working on musical-imaginative thinking, we often turn to the visual arts. This happens when working on software products.

Studying the vast area of program music, we find in it not only songs and fairy tales, poems and ballads, not only titles inspired by literary images - such as, for example, "Scheherazade" by N. Rimsky-Korsakov, "Peer Gynt" by E. Grieg or "Snowstorm" by G. Sviridov. In music, it turns out, symphonic paintings, frescoes and prints have long existed. The names of the musical works reflect the images that inspired them - "Forest" and "Sea", "Clouds" and "Mists". As well as "Bogatyr Gates in Kyiv", "Old Castle", "Roman Fountains".

What links music and visual arts? First of all - the dynamics, the distribution of volume levels. These levels have received in music the names of shades or nuances - and this is a definition from the field of painting! The contrast of colors in painting can be likened to the contrast of major and minor modes in music, which corresponds to the mood. The contrast of the registers, creating a darker and lighter sound.

Nature in art is spiritualized, it is sad and joyful, thoughtful and majestic; She is what a person sees her. The theme of nature has long attracted musicians. Nature gave music sounds and timbres that were heard in the singing of birds, in the murmur of streams, in the noise of a thunderstorm.

The landscape in music can be likened to the landscape in works of art - so diverse are the pictures of nature that composers turned to.

Not only the seasons, but also the seasons of the day, rain and snow, forest and sea elements, meadows and fields, earth and sky - everything finds its sound expression, sometimes literally amazing with pictorial accuracy and the power of impact on the listener.

Working with students on program works, we turn to the visual perception of the image being performed.

CONCLUSION.

All teachers-musicians face a difficult task: to develop the skills of high-quality playing and the completeness of the embodiment of the artistic concept of students. One of the keys to the fruitfulness of teaching is the close contact between the teacher and the student. Their mutual understanding is based on a creative interest in the knowledge of music. Interest should be constantly maintained by expanding the educational and pedagogical repertoire, with works that are more complex in terms of genre, stylistic and texture. A thorough performance-pedagogical analysis of the methods of studying these works reveals the specifics of their development by students.

Literature:

1. Alekseev A. Methods of teaching to play the piano. Music, M. 1991

2. Kryukova V. Musical pedagogy. Music, M., 1989

3. Feinberg S. Pianism as an art. Phoenix. 2003.

4. A. Soboleva, A. Potanina "Place music in the house" Moscow. 2005.

The specificity, originality of musical thinking depends on the degree of development of musical abilities, as well as the conditions of the musical environment in which a person lives and is brought up.

Let us especially note these differences between Eastern and Western musical cultures.

Oriental music is characterized by monodic thinking.: the development of musical thought horizontally using numerous modal inclinations /over eighty/, quarter-tone, one-eight-tone, gliding melodic turns, richness of rhythmic structures, untempered sound ratios, timbre and melodic diversity.

European musical culture is characterized by homophonic-harmonic thinking: the development of musical thought along the vertical, associated with the logic of the movement of harmonic sequences and the development on this basis of choral and orchestral genres.

Musical thinking has been studied since ancient times. So the system of correlation of musical tones, discovered by Pythagoras in the course of his experiments with the monochord, can be said to have laid the foundation for the development of the science of musical thinking.

2. Types of thinking. Individual features of thinking

In the art of music visual-realistic thinking can be attributed to the activities of the performer, teacher, educator.

Visual-figurative thinking associated with specific listener perception.

Abstract / theoretical, abstract-logical / thinking is associated with the activities of the composer, musicologist. In connection with the specifics of musical art, one more type of thinking can be distinguished, which is characteristic of all types of musical activity - this is creative thinking.

All these types of musical thinking also have a socio-historical character, i.e. belong to a certain historical era. This is how the style of different eras appears.: the style of ancient polyphonists, the style of the Viennese classics, the style of romanticism, impressionism, etc. We can observe even greater individualization of musical thinking in creativity, in the manner of expressing musical thought, which is characteristic of a particular composer or performer. Each great artist, even if he acts within the framework of the style direction proposed by society, is a unique individuality / personality /.

Musical thinking is directly connected with the birth of an artistic image. In modern musical psychology, the artistic image of a musical work is considered as the unity of three principles - material, spiritual and logical. The material element includes:

- musical text

acoustic parameters,

Melody

harmony

metrorhythm,

dynamics,

Invoice;

to the spiritual beginning:

- sentiments,

associations,

Expression,

Feelings;

to the logical beginning:

When there is an understanding of all these principles of the musical image in the mind of the composer, performer, listener, only then can we speak of the presence of genuine musical thinking.

In musical activity, thinking is concentrated mainly on the following aspects:

Thinking through the figurative structure of the work - possible associations, moods and thoughts standing above them;

Thinking about the musical fabric of a work - the logic of the development of thought in a harmonic construction, the features of melodies, rhythm, texture, dynamics, agogics, shaping;

Finding the most perfect ways, methods and means of incarnating thoughts and feelings on an instrument or on music paper.

According to many musicians-teachers, modern music education is often dominated by the training of students' professional playing abilities, in which the replenishment of knowledge of an enriching and theoretical nature is slow.

Conclusion: The expansion of the musical and general intellectual outlook, actively contributing to the development of musical thinking, should be the constant concern of a young musician, because this increases his professional capabilities.

3. The logic of the development of musical thought

In its most general form, the logical development of musical thought contains, according to the well-known formula of B.V. Asafiev, - initial impulse, movement and completion.

The initial impetus is given in the initial presentation of a topic or two topics, which is called an exposition or exposition.

After the exposition, the development of musical thought begins and one of the simple examples used here is repetition and comparison.

Another example of the development of musical thought is the principle of variation and alternation.

Promotion- this is a type of comparison in which each of the neighboring sections retains an element of the previous one and attaches a new continuation to it according to the formula ab-bc-cd.

progressive compression- this is when the dynamics increases, the tempo accelerates, the more frequent change of harmonies towards the end of a part or the whole work.

Compensation- when one part of the work compensates, balances the other in character, tempo and dynamics.

4. Development of musical thinking

According to the general pedagogical concept of a well-known teacher M.I. Makhmutova, for the development of students' thinking skills, it is important to use problem situations. PS can be modeled through:

Collision of students with life phenomena, facts that require theoretical explanation;

Organization of practical work;

Presenting to students life phenomena that contradict the previous worldly ideas about these phenomena;

Formulation of hypotheses;

Encouraging students to compare, compare and contrast their knowledge;

Encouraging students to a preliminary generalization of new facts;

Research tasks.

With regard to the tasks of musical education, problem situations can be formulated as follows.

To develop thinking skills in the process of perceiving music, it is recommended:

Reveal the main intonational grain in the work;

Determine by ear the stylistic directions of a musical work;

Find a piece of music by a certain composer among others;

Reveal the features of the performing style;

Identify harmonic sequences by ear;

Match the taste, smell, color, literature, painting, etc. to the music.

To develop thinking skills in the process of performing, you should:

Compare the performance plan of different editions;

Find the leading intonations and strongholds along which musical thought develops;

Draw up several performance plans for the work;

Perform a work with various imaginary orchestrations;

Perform the work in a different imaginary color.

To develop thinking skills in the process of composing music:

Melodically develop harmonic sequences based on general bass, bourdon, rhythmic ostinato;

Pick up familiar songs by ear;

Improvise pieces of a tonal and atonal character for a given emotional state or artistic image;

The embodiment of speech, everyday dialogues in musical material;

Improvisation for different eras, styles, characters;

Stylistic, genre diversity of the same work.

5. Pedagogical prerequisites for the formation of musical thinking in adolescent schoolchildren (in the context of music lessons)

Musical thinking is an important component of musical culture. Therefore, the level of its development largely determines the musical culture and adolescent students. The tasks put forward by the music program:

Use music in the development of the emotional culture of students;

To form in them the ability to consciously perceive musical works;

Think creatively about their content;

To influence the subject through music;

Develop student performance skills.

In accordance with this, requirements are also formulated for a music lesson (in a general education school, in a music school, etc.), which should be holistic, aimed at emotionally meaningful communication of students with music.

The perception of musical works by adolescent students involves:

- their awareness of their emotional observations, experiences;

- clarification of the degree of their compliance with the content of the musical work, i.e. its comprehension, evaluation based on the assimilation of a certain system of knowledge and ideas about music as an art.

Based on the analysis of music programs, taking into account the psychological and pedagogical aspects of the musical activity of adolescent schoolchildren, a number of factors can be identified that in a certain way determine the levels of formation of their musical thinking skills.

1. Psychological and pedagogical factors:

Natural abilities (emotional responsiveness to music, sensory abilities: melodic, harmonic and other types of musical ear, a sense of musical rhythm, allowing students to successfully engage in musical activities;

Individual-characterological features of the child, contributing to the identification of the quality of his emotional and volitional sphere (the ability to concentrate, the skills of logical and abstract thinking, receptivity, impressionability, the development of ideas, fantasy, musical memory);

Features of the motivation of musical activity (satisfaction with communication with music, identification of musical interests, needs);

2. Analytical and technological factors:

The presence of a certain amount of musical-theoretical and historical knowledge among students, the skills of understanding the features of the musical language, the ability to operate with them in the process of musical activity.

3. Artistic and aesthetic factors:

The presence of a certain artistic experience, the level of aesthetic development, the sufficient formation of musical taste, the ability to analyze and evaluate musical works from the standpoint of their artistic and aesthetic value and significance.

The presence of certain components of musical thinking in adolescent students, the levels of its formation can be established using the following criteria in the process of research pedagogical activity.

1. Characteristics of the reproductive component of musical thinking:

Interest in musical activities;

Knowledge of the specifics of the elements of the musical language, their expressive capabilities, the ability to operate with musical knowledge in the process of perception and performance of musical works (as directed by the teacher).

2. Characteristics of the reproductive and productive component of musical thinking:

The presence of interest in the performance of folk and classical works of song genres;

The ability to adequately perceive and interpret the artistic image of the song;

The ability to create your own plan for its execution, arrangement;

The ability to objectively evaluate their own performance of the song;

The ability to holistically analyze a musical work from the point of view of its dramaturgy, genre and style features, artistic and aesthetic value.

3. Characteristics of the productive component of musical thinking:

The need for creativity in various types of musical activity;

Development of a system of musical and auditory representations, the ability to use them in practical musical activities;

Special artistic abilities (artistic-figurative vision, etc.);

The ability to operate with the means of musical language (speech) in the process of creating their own musical samples.

Literature

1. Belyaeva-Instance S.N. On the psychology of music perception - M .: Publishing house Russian knizhnik, 1923. - 115 p.

2. Berkhin N.B. General problems of the psychology of art. - M.: Knowledge, 1981. - 64 p. - (New in life, science, technology; Series "Aesthetics"; No. 10)

3. Bludova V.V. Two kinds of perception and features of the perception of works of art // Problems of ethics and aesthetics. - L., 1975. - Issue. 2. - S. 147-154.

4. Vilyunas V.K. Psychology of emotional phenomena / Ed. O.V. Ovchinnikova. - M .: Publishing House of Moscow. un-ta, 1976. - 142 p.

5. Witt N.V. About emotions and their expression // Questions of psychology. - 1964. - No. 3. - S. 140-154.

6. Vojvodina L.P., Shevchenko O.O. Pedagogical rethinking the formation of musical thought among schoolchildren of the junior age // Bulletin of the Luhansk State Pedagogical University named after. T. Shevchenko Scientific journal No. 8 (18) (According to the materials of the All-Ukrainian Scientific and Methodological Conference "Artistic Culture in the System of Higher Education" 20-23 January 1999). - Lugansk, 1999. - S. 97-98.

7. Galperin P.Ya. Psychology of thinking and the doctrine of the phased formation of mental actions // Studies of thinking in Soviet psychology - M., 1966.

8. Golovinsky G. On the variance of the perception of the musical image // Perception of music. - M., 1980. - S.

9. Dneprov V.D. On Musical Emotions: Aesthetic Reflections // The Crisis of Bourgeois Culture and Music. - L., 1972. - Issue. 5. - S. 99-174.

10. Kechkhuashvili G.N. On the role of attitude in the evaluation of musical works // Questions of Psychology. - 1975. - No. 5. - S. 63-70.

11. Kostyuk A.G. The theory of musical perception and the problem of the musical and aesthetic reality of music // Musical art of a socialist society: Problems of spiritual enrichment of the individual. - Kyiv, 1982. - S. 18-20.

12. Medushevsky V.V. How the artistic means of music are arranged // Aesthetic essays. - M., 1977. - Issue. 4. - S. 79-113.

13. Medushevsky V.V. On the regularities and means of the artistic influence of music. - M.: Music, 1976. - 354 p.

14. Medushevsky V.V. On the content of the concept of "adequate perception" // Perception of music. Sat. articles. / Comp. V. Maksimov. - M., 1980. - S. 178-194.

15. Nazaikinsky E.V. On the psychology of musical perception. - M.: Music, 1972. - 383 p.: hell. and notes. ill.

16. Sokolov O.V. On the principles of structural thinking in music // Problems of musical thinking. Sat. articles. - M., 1974.

17. Teplov B.M. Psychology of musical abilities. - M., 1947.

18. Yuzbashan Yu.A., Weiss P.F. Development of musical thinking of younger schoolchildren. M., 1983.

the child, or rather, the degree of his development, greatly affects the achievements in teaching music. After all, images always express emotions, and emotions are the main content of almost any music.

Unfortunately, very rarely a child's game is interesting in an emotional and figurative sense, most often you can hear a dry, academic set of sounds. Well, if these are exactly the sounds that the composer intended. It is even better if the durations of the notes are calculated accurately.

Well, and if the pace is close to the present, then what more could you want? All tasks are solved. That's just listening to such a game is incredibly boring. Sometimes you think: “It would be better if something was wrong, but with a lively emotional reaction.”

But in order for this reaction to appear, the child needs a very sincere interest in what he is doing at the piano. In this matter, the main task is to achieve a vivid emotional reaction to music. Such a reaction that the child is simply “bursting” with impatience to tell with sounds about all the vivid images that live in music.

Literature is one of such related and very close to music types of arts. Especially when it comes to literary and poetic recitation.

There are terms in music: "sentence", "phrase". We also use the concepts: “punctuation marks”, “caesuras”. But the most important thing that unites music with expressive speech and that is one of the main foundations of expressive performance of music is intonation.

The reason here is that they came from our colloquial speech, more precisely, from the intonations that accompany expressive speech. Accordingly, in order for a child to learn to hear these intonations in music, one must first teach him to hear them in ordinary human speech.

Of course, at school everyone is asked to memorize poems, there are tasks for expressive reading of prose texts. But will the teacher try? More precisely, will he be able to work out this skill with each child? After all, it can take a lot of time to correct inaccurate, “false”, or even simply mournful intonations.

No one will bother with each child when there are more than a dozen of them in the class. This can only be done by a mother who is interested in the child receiving a good education and

In this case, we are talking “only” about the development of creative thinking, which is so necessary for any type of human activity and which is so rare (precisely because it was not developed in childhood)!

And at the same time, artistry and fluency in speech develop - such necessary qualities for adaptation in any society! But this is only if you do not just learn the text with your child, but teach him expressive intonation.

And the music teacher will find what to do with this skill in the lesson. In the elementary grades, a verbal subtext (“subtext”) is invented for each melody.

MINISTRY OF EDUCATION AND SCIENCE

FEDERAL AGENCY FOR EDUCATION

UGORSK STATE UNIVERSITY

FACULTY OF ARTS

DEPARTMENT OF MUSIC EDUCATION

Eligible for defense

"__" ___________ 200__

Head department ____________

RASHEKTAEVA TATYANA VIKTOROVNA

DEVELOPMENT OF MUSICAL THINKING OF JUNIOR STUDENTS IN MUSIC LESSONS

(final qualifying work)

specialty "05.06.01 - Musical education"

Scientific adviser:

candidate ped. Sciences,

Associate Professor Tekuchev V.V.

Khanty-Mansiysk

Introduction

Chapter 1

1.1. Musical thinking: multilevel research

1.2. Development of the theory of musical thinking in the works of foreign and domestic researchers

1.3. Structure of musical thinking

Chapter 2

2.1. Psychophysiological features of the development of younger students

2.2. Factors of the social environment influencing the development of musical thinking of younger students

2.3. Basic principles of interaction between a child and a teacher in the space of music

Chapter 3

3.1. Criteria for the development of musical thinking of junior schoolchildren and its diagnosis at the stage of ascertaining experiment

3.2. Forms and methods of work on the development of musical thinking of younger students in music lessons

3.3. The results of experimental work on the development of musical thinking of younger students

Conclusion

Bibliography

Introduction

The need for a multifaceted study of the development of musical thinking in children is recognized as an acute problem of modern music pedagogy. The most favorable for the development of musical thinking by means of music is the junior school age, since it is during this period that the basic culture of a person is laid, the foundation of all types of thinking. At present, the one-sided rationalistic approach of the educational system is in crisis, and the eyes of many teachers and parents are turned towards art.

The problem of musical thinking as such exists in modern science relatively recently and is one of the most attractive in theoretical musicology, musical pedagogy and psychology. At the same time, the genetic origins of this problem can be seen from quite distant times - the 18th century - I.F. Herbart, E. Hanslik, G. Riemann.

For many years, the attention of researchers has focused on individual components of the process of education and upbringing. And only in the 20th century, teachers turned to the personality of the child, began to develop their motivation in learning, ways of forming needs. Concepts were created in Europe and Russia that lead directly to the problems of musical thinking. In the works of V. V. Medushevsky, E. V. Nazaykinsky, V. N. Kholopova and others, the cultural level of musical thinking is revealed, in which the meaning of a musical work is considered through intonations, genres and styles of historical and cultural contexts of eras. The social aspect of the problem is studied in the works of A. N. Sohor, R. G. Telcharova, V. N. Kholopova.

In the works of B. V. Asafiev, M. G. Aranovsky, V. V. Medushevsky, E. V. Nazaykinsky and others, the historical formation and development of musical thinking is considered.

The musicological level, first of all, through the intonational specifics of musical art, as the basis of the musical image, is expounded in the works of B. V. Asafiev, M. G. Aranovsky, L. A. Mazel, E. V. Nazaikinsky, A. N. Sohor, Yu. N. Kholopov, B. L. Yavorsky and others.

On the other hand, music pedagogy itself has accumulated rich material, one way or another connected with the problem of musical thinking (research works by T. A. Barysheva, V. K. Beloborodova, L. V. Goryunova, A. A. Pilichauskas).

But still there are many ambiguities in the field of figurative musical thinking. The very concept of "musical thinking" has not yet received the status of a strictly scientific term. The point is not only in the relatively insufficient study of this phenomenon, but also in its differences from what is called thinking itself. And although the area of concepts and logical operations plays a certain role, both in the process of creating a musical work and in its perception, it is quite clear that it does not determine the specifics of musical thinking. Therefore, the question of the legitimacy of this concept is still open.

All attempts to touch upon the theme of musical thinking do not build, however, an integral, structurally complete, comprehensively developed theory.

aim Our research work is to substantiate the pedagogical ways of effective development of musical thinking in children of primary school age in music lessons.

Object of study is a musical educational process in elementary school, focused on developing the ability of musical thinking.

Subject of study– pedagogical management of the process of development of musical thinking of younger students in the context of music lessons.

In accordance with the purpose of the study, the following tasks :

1. Based on the analysis of the literature on the research topic, identify the characteristic features of the concept of "musical thinking".

3. Determine the empirical indicators of the levels of formation of musical thinking in younger students.

4. Determine the most effective forms, methods and pedagogical conditions for organizing educational activities in music lessons to activate the musical thinking of younger students;

5. Check the effectiveness of the methodology for the development of musical thinking in the process of experimental research.

Our study was based on hypothesis that the success of the development of musical thinking of younger schoolchildren is possible if their cognitive experience is enriched by expanding the musical-intonational vocabulary and activating productive thinking, imagination, fantasy, intuition, musical and auditory representations.

– analysis of the literature on the problem under study;

– generalization and systematization of theoretical material;

– purposeful pedagogical observation;

- study and generalization of the advanced pedagogical experience of music teachers;

– diagnostics of the level of development of musical thinking of children;

– experimental work on the development of musical thinking of younger students.

The novelty of the research work lies in a comprehensive understanding of the theory of musical thinking. Defense provisions include the following:

– various approaches to the study of musical thinking were identified on the basis of theoretical analysis: cultural, sociological, logical, historical, musicological, psychological and pedagogical, which made it possible to fill this category with the following content: musical thinking – includes the main patterns of thinking in general, and its specificity is determined by figurativeness, intonational nature of musical art, semantics of the musical language and active self-expression of the individual in the process of musical activity. Intonation is the main category of musical thinking;

– two structural levels are distinguished: “sensory” and “rational”. The link between them is the musical (auditory) imagination. The first level includes the following components: emotional-volitional and musical performances. To the second - associations; creative intuition; logical methods of thinking (analysis, synthesis, abstraction, generalization); musical language;

– it is determined that musical thinking is formed in the social environment, its development is influenced by various factors: family, inner circle (relatives, friends), means of individual and mass communication, music lessons at school, etc.

Methodological basis researches make up the concepts of domestic and foreign scientists: V. M. Podurovsky on the role of musical thinking in the mental activity of the individual; B. V. Asafiev about intonation as the semantic fundamental principle of music; L. A. Mazel on the relationship between the content of music and the means of its expression; V. V. Medushevsky about the dependence of figurative thinking on past experience, the general content of a person’s mental activity and his individual characteristics; musical and pedagogical concepts of author's programs; musical and pedagogical works (Yu. B. Aliev, V. K. Beloborodova, L. V. Goryunova, D. B. Kabalevsky, N. A. Terentyeva, V. O. Usacheva and L. V. Shkolyar), in which the ways, methods and means of forming musical thinking in a specific musical and pedagogical activity are substantiated.

Experimental work was held on the basis of secondary school No. 3 in Khanty-Mansiysk.

The work consists of an introduction, three chapters, a conclusion and a list of references.

The introduction substantiates the relevance of the study, defines the object, subject, goal, objectives, hypothesis, methodological basis, research methods.

The first chapter "Methodological foundations for the development of children's musical thinking" explores the multilevel nature of musical thinking, characterizes it as a mental process of a person, and outlines the structure of musical thinking.

The second chapter "Theoretical Foundations for the Development of Musical Thinking in Primary School Students" examines the psychophysiological features of the development of primary schoolchildren, provides the factors of the social environment that influence the development of musical thinking in primary school students, and also reveals the basic principles of interaction between a child and a teacher in the space of music.

In the third chapter "Experimental work on the development of musical thinking of junior schoolchildren in music lessons", the diagnostics of the level of development of musical thinking of junior schoolchildren were carried out, the sequence of organizing and conducting research on the development of musical thinking in children was revealed, and the effectiveness of the developed methodology was shown.

In the Conclusion, on the basis of the results obtained in the course of theoretical analysis and experimental work, conclusions are drawn.

The list of literature used in the work consists of 67 sources.

Chapter 1. Methodological foundations for the development of musical thinking in schoolchildren

1.1 Musical thinking: multilevel research

Thinking (English - thinking; German - denkens; French - pensee), in general terms, is defined as a process of generalized reflection of reality, which arose from sensory cognition on the basis of human practical activity.

Being a complex socio-historical phenomenon, thinking is studied by many sciences: philosophy(in terms of analysis of the relationship between subjective and objective in thinking, sensual and rational, empirical and theoretical, etc.); logic(the science of the forms, rules and operations of thinking); cybernetics(in connection with the tasks of technical modeling of mental operations in the form of "artificial intelligence"); psychology(studying thinking as an actual activity of the subject, motivated by needs and aimed at goals that have personal significance); linguistics(in terms of the relationship between thinking and language); aesthetics(analyzing thinking in the process of creation and perception of artistic values); science of science(studying the history, theory and practice of scientific knowledge); neurophysiology(dealing with the brain substrate and physiological mechanisms of thought); psychopathology(revealing various types of violations of the normal functions of thinking); ethology(considering the prerequisites and features of the development of thinking in the animal world).

Recently, increased interest of philosophers, estheticians, musicologists, teachers is caused by the problems of the development of musical thinking. Naturally, this problem is multifaceted, and when considering it, researchers also rely on data from different sciences.

General philosophical level considers musical thinking as one of the types of artistic thinking. According to modern philosophical concepts, "thinking is defined as the highest form of active reflection of objective reality, consisting in a purposeful, mediated and generalized knowledge by the subject of existing connections and relations of objects and phenomena, in the creative creation of new ideas, in predicting events and actions." .

The musical material is not just a natural sound, but a sound artistically meaningful and appropriately transformed into a sensual-shaped material of musical reflection. Therefore, musical thinking as an activity is a process of transforming sound reality into an artistic-figurative one. It is determined by the norms of the musical language, “filled with “linguistic content”, since the elements and rules of a given language become its material, and appears as “linguistic thinking”, as a realization in reality of a specific “musical and auditory ability”. . Such an understanding of musical thinking is fully consistent with the well-known position of philosophy on the essence of thinking that develops in connection with language and on the basis of practical (in this case, musical) activity.

aesthetic level. Many works on aesthetics (M.S. Kagan, D.S. Likhachev, S.Kh. Rappoport, Yu.N. Kholopov, etc.) are based mainly on the analysis of artistic, including musical creativity, as the main material in the study of aesthetic exploration of the world, aesthetic ideal, creative methods. Thinking is an integral component of human activity, its ideal plan. Hence, musical thinking, as artistic thinking, is a creative process, since music, like other forms of art, is a kind of aesthetic activity that has a creative character. At the same time, quite often, the concept of "musical thinking" is identified with the composer's, as the most creative, productive type responsible for creating new music. The listener's thinking acts as a more passive - reproductive type, associated with mental acts that serve the perception of already existing music. The common object of thought of the composer, performer and listener is a piece of music. At the same time, the features of the activity of each of the participants in musical communication are associated with the allocation of specific objects in this object. So the composer's thinking concentrates on the task of creating, on the basis of his musical and figurative representations, the musical text of a musical work, the performer's thinking is on the task of the sound embodiment of this text, and the listener's thinking is turned to figurative representations produced by musical sound. Moreover, works of art “can be perceived only if the laws by which musical perception is carried out correspond to the laws of musical production. In other words, music can only exist if, in some very important part, the laws of musical creativity and musical perception coincide…”. .

Music, in its cultural and historical patterns, presents us with a unique opportunity to revive the "petrified time" of the past in the process of performance and perception and again make it lasting and aesthetically experienced. This is due to the fact that the perception of musical works of previous eras goes through intonations, genres, styles, characteristic of the culture of that time.

The most important general artistic category is intonation. Intonation is inseparable from society; it is a specific aspect of the ideological and ideological essence of a particular social era reflected in a specific way. It is through intonation that the artist is able to reflect reality. Intonation carries informational qualities, since it conveys the results of reflection to the listener. Thus, intonation is a generalization of the artistic value of each historical era.

One of the key, in the understanding of musical art in the process of musical thinking is the category of "genre". “Musical genre is the axis of connection between musical art and reality itself; a musical genre is a steadily recurring type of music that is fixed in the public consciousness…”. This is how V. Kholopova answers this question. . Thus, we can say that a genre is a type of musical work that has developed within the framework of a certain social purpose and form of existence of music, with an established type of content and means of performance. Being the basis of any musical and communicative process, the genre acts as an intermediary between the listener and the composer, between reality and its reflection in a work of art. That is why the category "genre" becomes one of the key ones in understanding the art of music in the process of musical thinking.

In the context of this section, an understanding of the meaning of the term "style" is necessary. According to the theory of V. Medushevsky, “style is the originality inherent in the music of a certain historical period, the national composer's school, and the work of individual composers. Accordingly, they talk about the style of the historical, national, individual. .

We find a different, more capacious interpretation of "style" in other sources. So, according to the theory of M. Mikhailov, style is a system of expressive means that serves to embody one or another ideological content and has developed under the influence of extra-musical factors of musical creativity (M.K. Mikhailov, E.A. Ruchevskaya, M.E. Tarakanov and others. ). These factors include the worldview and attitude of the composer, the ideological and conceptual content of the era, the general patterns of the musical and historical process. As the main determinant of the musical style, researchers call the nature of the creative person, her emotional traits, the features of the composer's creative thinking, "spiritual vision of the world". At the same time, the importance of socio-historical, national, genre and other factors of style formation is also emphasized. To comprehend the style, in the process of musical thinking, such concepts as “intonation reserve”, “sense of style”, “style setting” become relevant.

A sophisticated listener is easily oriented in styles and thanks to this he understands music better. He easily distinguishes, for example, the dissected, strict and slender, almost architectural forms of musical classicism from the fluid massiveness of the baroque, feels the national character of the music of Prokofiev, Ravel, Khachaturian, recognizes Mozart, Beethoven or Schumann music by the very first sounds.

Musical styles are associated with the styles of other arts (painting, literature). Feeling these connections also enriches the understanding of music.

logical level. Musical thinking implies understanding the logic of organizing various sound structures from the simplest to complex, the ability to operate with musical material, find similarities and differences, analyze and synthesize, and establish relationships.

In its most general form, the logical development of musical thought contains, according to the well-known formula of B.V. Asafiev, “imt”, where i is the initial impulse, m is movement, development, t is completion.

The comprehension of the logical organization of the sound fabric, on the one hand, and the experience of the expressive essence of the musical artistic image, on the other hand, create in their synthesis musical thinking in the full sense of this concept. Thinking in this case is a reflection in the mind of the subject of musical activity of the musical image, understood as a combination of rational and emotional. Only the fusion of these two basic functions of musical thinking makes the process of musical and mental activity artistically complete.

Sociological level emphasizes the social nature of musical thinking. “All forms of musical thinking are carried out on the basis of a special “language”, which differs from the usual verbal (verbal), and from the language of mathematical or logical formulas, and from the “language of images”. This is the “musical language”.... Musical language (like verbal language) is a product of society”. . True, not ready-made “words” of the musical language live in public consciousness and public practice, but only more or less stable in each era, but gradually changing under the influence of socio-historical conditions, “types of words”, on the basis of which the composer creates his own, individual intonations. . Thus, the material used by the musical thinking of the composer, performer and listener has a social origin.

In different peoples and in different eras, we meet, along with similar patterns of musical thinking, also very different, specific to individual cultures. And this is natural, since each era creates its own system of musical thinking, and each musical culture generates its own musical language. Musical language forms musical consciousness in the process of communication with music in a given social environment.

Psychological level. The study of works of art allows psychologists to judge the laws of thinking, the interaction of "logical" and "emotional" spheres, abstract and figurative representations and associations, imagination, intuition, etc. Therefore, musical thinking, according to musical psychologists L. Bochkarev, V. Petrushin, B. Teplov, and we share their point of view, is nothing more than a rethinking and generalization of life impressions, a reflection in the human mind of a musical image, which is the unity of the emotional and the rational.

Also, researchers of this level distinguish three types of thinking: composer, performer and listener (Nazaikinsky, Petrushin, Rappoport, etc.).

Wherein listener will operate in the process of his musical perception with ideas about sounds, intonations and harmonies, the play of which awakens in him various feelings, memories, images. Here we are faced with an example of visual-figurative thinking.

Executor A person dealing with a musical instrument will comprehend the sounds of music in the course of his own practical actions, finding the best ways to perform the musical text offered to him. So, if a person, when comprehending music, is dominated by psychomotor, motor reactions, then this indicates the predominance of a visual-effective type of musical thinking.

Finally, composer, wishing to convey his life impressions in the sounds of music, he will comprehend them using the laws of musical logic, which is revealed in harmony and musical form. This is manifested by abstract-logical thinking.

Pedagogical level. The well-known teacher V. Sukhomlinsky argued that "musical education is not the education of a musician, but, above all, the education of a Person." Based on his words, the goal and meaning of pedagogy in general and music pedagogy in particular are now clearly identified: this is the formation and development of the child's personality. Forming a personality, we develop its intellect, its individual abilities, form its consciousness as a regulator of behavior and develop thinking, forming the core of the personality - its self-awareness.

What is the role of art, music in this process? "Music, performing many vital tasks, is called upon to solve, perhaps the most important thing - to instill in children a sense of inner involvement in the spiritual culture of mankind, to instill a life position of children in the world of music." . Over the entire history of Russian musical pedagogy, the most interesting theoretical and practical experience has been accumulated, which convinces us that the process of perception of music, starting from childhood, and all types of musical and performing activities are controlled and regulated by the artistic (musical) consciousness, which is formed and developed. through the processes of artistic (musical) thinking. .

Forming musical thinking, we introduce a person into the world of art because this is a world that, unlike the world of science, contains spiritual, moral values: this is TRUTH, BEAUTY, GOOD, as the greatest value in itself. Therefore, by opening the world of art to a person, we help him go the way of knowing himself and the world in which he lives. With this approach, artistic thinking and, as a variation of it, musical thinking, is a process of self-knowledge and manifestation of the spiritual beauty of a person on the path of creative comprehension and transformation of life and art. L.V. Goryunova, analyzing the content of music classes at school, emphasizes the need to understand it as a single joint artistic and creative activity of the teacher and students, aimed at understanding the world and themselves, at self-creation, at revealing the moral and aesthetic essence of art, at appropriating universal values .

Musical level. According to leading domestic musicologists, the most characteristic feature of music is its intonational nature. The word "intonation" in the history of musical art has existed for a long time and has various meanings. Intonation was called the introductory part before the Gregorian chant, the introductory prelude on the organ before the singing of the chorale, certain exercises in solfeggio, intonation in the performing arts - pure or false playing on non-tempered instruments based on sound-pitch micro-ratios, pure or false singing. The whole intonation concept of music was developed by B.V. Asafiev. He scientifically substantiated the view of musical art as intonational art, the specificity of which lies in the fact that it embodies the emotional and semantic content of music, just as the internal state of a person is embodied in the intonations of speech. Asafiev used the term intonation in two meanings. The first is the smallest expressive and semantic particle, “grain-intonation”, “cell” of the image. The second meaning of the term is used in a broad sense: as an intonation equal to the length of a musical work. In this sense, music does not exist outside of intonation. Musical form is the process of changing intonations. . It is the intonational nature that determines both the specifics of both the musical thinking itself and the approach to considering its components.

The main carrier of musical meaning and meaning in a piece of music is intonation.

Following B. Asafiev, intonation theory was further developed in the works of V. Medushevsky. “Musical intonation is a direct, clear embodiment of the energies of life. It can be defined as a semantic-sound unity. .

From this it follows that for the development of musical thinking it is necessary to form a systematized intonation dictionary.

Thus, from the above, it can be concluded that musical thinking- a kind of artistic thinking, is a special kind of artistic reflection of reality, consisting in purposeful, mediated and generalized knowledge and transformation by the subject of this reality, creative creation, transmission and perception of musical and sound images. The specificity of musical thinking is determined by the intonational and figurative nature, the spiritual content of musical art and the active self-expression of the individual in the process of musical activity.

The peculiarity of musical thinking is quite accurately defined by Asafiev in the process of analyzing the term “musical-intonation dictionary” he introduced. In his intonation theory, intonation, in a broad sense, is understood as the meaning of speech, its mental tone, mood. In a narrower one - "fragments of music", "melody formations", "memorable moments", "grains of intonation".

The intonation approach in musical pedagogy is most holistically presented in the music program for the secondary school of D. B. Kabalevsky. The central theme of his program is the theme of the second quarter of the second grade - "Intonation", "since it meets all the requirements for the ultimate abstraction, it becomes the turning point from which the program begins to climb from the abstract to the concrete, to the whole at a new level" .

Thus, the phenomenon of musical thinking acts as a multi-level formation, considered from the standpoint of various sciences.

An analysis of various approaches to the study of thinking from the point of view of our study led us to identify three most important aspects of the development of musical thinking in younger students: volume, connection and creativity.

1.2 Development of the theory of musical thinking in the works of foreign and domestic researchers

In a comprehensive study of musical thinking, we cannot do without history, since in connection with its development, the stages of the formation of the theory of musical thinking are clarified.

The history of the emergence of the concept of "musical thinking" is rather difficult to trace. Musical art, as a special kind of spiritual, mental activity of a person, has long been known.

We find the first attempt to interpret the concept of musical thinking in the German philosopher I. Herbart in 1811, who distinguished between auditory sensations and musical thinking in the process of listening to music. Thus, Herbart came to understand that music is perceived based on feelings and then processed with the participation of rational thought.

The German philosopher E. Hanslick, in 1854, clearly expressed the idea of "apperceptive lead" in the process of perceiving music. In his opinion, the intellect of a person who is able to aesthetically perceive music can anticipate its flow, overtake and return back, which, in fact, corresponds to the principle of anticipatory reflection.

Along with such valuable conclusions, Hanslik at the same time tries to prove that music breaks down only into sounding forms, and there are no grounds to talk about musical meanings and semantic connections, since in general music does not carry meaning. In the future, the work of Hanslick served as a starting point for many Western European musicologists and aesthetics.

K. Fechner in his "Introduction to Aesthetics" (1876) sets the task of analyzing aesthetic principles and aesthetic perception.

Aesthetic perception, in his opinion, is accompanied by aesthetic ideas. These are representations-memories, representations-associations that merge into a coherent stream of impressions.

The emergence of the actual theory of musical thinking can be considered from the release of the work of the German musicologist G. Riemann "Musical Logic" (1873), where it was first noted that a piece of music can be understood only by comparing and contrasting sound perceptions and ideas.

Late XIX and early. XX centuries marks a new stage in the development of the theory of musical thinking. Psychologists and musicologists are moving from the study of perception and representation to the study of thought processes in general. Thus, applying the theory of linguistic meanings (semantics) in musicology, O. Stieglitz (1906) says that the word in music acts as a signal of meaning. He comes to the very important conclusion that the specificity of music is more fully comprehended through its direct perception than through the "grammar" of verbal language.

The next stage in the development of the theory of musical thinking is the publication of the book by R. Muller-Fraienfels "Psychology of Art" (1912).

Muller-Frayenfels' research is of particular importance because he reveals the objectivity of the coexistence of musical thinking and tries to classify it, noting two types of musical thinking:

- a type that objectifies his musical experiences, not inclined to see something specific in them;

- a type who sees in musical impressions something specific, different from others.

Thus, R. Müller-Fraienfels came close to solving the problem of what constitutes specifically musical thinking.

In the future, the study of the Czech scientist and composer O. Zich "Aesthetic perception of music" (1910) contributed to the solution of this problem. He connects musical perception with musical thinking, understanding it as a connection of the sensory side of experience with awareness of the content organization of the sound flow. Zich believed that an integral part of the gift of musical perception is the ability to recognize and retain in thought the continuity of single properties among a wide stream of perceptions.

In general, the scientific works of Zich created a tradition in music pedagogy and psychology, which was further developed by such researchers as, for example, the Swiss E. Kurt. In his work "Prerequisites for Theoretical Harmony and Tonal System" (1913), he continued the study of musical experience, which underlies any kind of musical activity. Kurt distinguishes between the sensual basis of a musical experience, or an external physiological impulse, and a psychological essence, or an internal, musical experience proper. In subsequent works, the researcher tries to trace the relationship between the sensory base and inner experience, which ultimately reflects the relationship between consciousness and the subconscious. This was a significant achievement in musical psychology: for the first time, the problem of the correlation between the rational and the irrational in the process of musical thinking was posed.

But, despite all the results of the research, it remained unclear - what is the way to comprehend the meaning of a musical work.

The Czech esthete G. Mersmann tried to answer this question in his work “Applied Musical Aesthetics” (1926), where he writes that a piece of music should be considered as a pure phenomenon.

The teacher and musician V. Gelfert continued his studies of musical thinking in the article "Notes on the Question of Musical Speech" (1937). Analyzing the process of musical thinking, the author introduces the concept of "musical imagination". Comparing musical and colloquial speech, Gelfert comes to the conclusion that musical phenomena cannot be explained by the laws of human speech, and that the main difference between music and speech is that it is not capable of conveying concepts.

The question of the cognition of musical meaning remained open until the publication of B. V. Asafiev's book "Musical Form as a Process" (1930). Musical intonation as a manifestation of thought. Thought, in order to become sound-expressed, becomes intonation, intonation. .

Thus, we have come to the consideration of the actual theory of musical thinking. The studies of this level should include the works of domestic scientists B. V. Asafiev, M. G. Aranovsky, L. I. Dys, V. V. Medushevsky, E. V. Nazaykinsky, V. Yu. Ozerov, A. S. Sokolov , O. V. Sokolova, A. N. Sokhora, Yu. N. Tyulina, Yu. N. Kholopova and others.

An important difference between Russian cultural studies and musicology is that musical thinking is seen as productive, creative thinking, which is the unity of three main types of human activity: reflection, creation and communication.

The Soviet sociologist A. Sokhor, identifying the main patterns of musical thinking as a social phenomenon, rightly believes that in addition to “ordinary concepts expressed in words and ordinary visual representations that materialize in visible expressions, the composer necessarily – and very widely – uses specifically musical “concepts” , "ideas", "images".

Thus, musical thinking is carried out on the basis of the musical language. It is able to structure the elements of the musical language, forming a structure: intonational, rhythmic, timbre, thematic, etc. One of the properties of musical thinking is musical logic. Musical thinking develops in the process of musical activity.

Musical information is received and transmitted through the musical language, which can be mastered by directly engaging in musical activity. The musical language is characterized by a certain "set" of stable types of sound combinations (intonations) that obey the rules (norms) of their use. It also generates texts of musical messages. The structure of the text of the musical message is unique and inimitable. As already noted, each era creates its own system of musical thinking and each musical culture generates its own musical language. Musical language forms musical consciousness exclusively in the process of communication with music in a given social environment.

In the context of our study, the works of V. V. Medushevsky play an important role in understanding the problem of musical thinking. In his works, he reveals the fundamental position of the theory of musical thinking: all the values that art contains are spiritual values. To understand their meaning is possible only through self-improvement, through the development of one's spiritual world, striving for the knowledge of beauty and truth.

An important stage in the development of the theory of musical thinking is the position that it has a structure. This problem was developed by M. G. Aranovsky, O. V. Sokolov and others. “In the process of evolution of artistic creativity, as expressive means are enriched, stable models of structural thinking arise. The principles of structural thinking are infinite and manifold.

In the course of further development of the theory of musical thinking, a categorical apparatus for research on this issue was also developed. The leading authors at the same time were N. V. Goryukhina, L. I. Dys, T. V. Cherednichenko and others. It was they who expressed the idea that in musicology an extremely general and at the same time which understands the process of formation, functioning, interaction and change of intonations as the smallest units of musical meaningfulness.

1.3 Structure of musical thinking

The structure of musical thinking must be considered in unity with the structure of artistic thinking.

The analysis of scientific literature makes it possible to single out two structural levels in the phenomenon of artistic thinking, corresponding to two levels of cognition - emotional and rational. The first (emotional) includes artistic emotions and representations in their synthetic unity, and for some authors artistic emotions become for artistic representations that “special non-conceptual form in which artistic thinking takes place”. . The rational level includes the associativity and metaphorical nature of artistic thinking. . Thus, mental activity appears in the "unity of the emotional and rational." S. Rubinshtein speaks about the same. . The connecting link between the "sensual" and "rational" levels of artistic thinking is the imagination, which has an emotional-rational nature. This is also confirmed by the researchers L. Vygotsky, V. Matonis, B. Teplov, P. Yakobson. .

Now, having an idea of the structure of artistic thinking, discussed above, let's outline the levels and single out the constituent components of musical thinking.

First of all, we proceed from the position that musical thinking, being a product of intellectual activity, obeys the general laws of human thinking and, therefore, is carried out with the help of mental operations: analysis, synthesis, comparison, generalization.

The second starting point is that musical thinking is one of the types of artistic thinking.

Third – is thinking that has a creative character, and the fourth – it reveals the specific properties of music.

The process of thinking was deeply investigated by the Soviet psychologist S. Rubinshtein. The basis of his concept S.L. Rubinstein put the following idea: “the main way of existence of the mental is its existence as a process or activity”, thinking is a process because it “is a continuous interaction of a person with an object”. Both sides of thinking appear in unity. “The process of thinking is, first of all, the analysis and synthesis of what is distinguished by analysis, this is then abstraction and generalization ...”. [ibid., p. 28]. Moreover, the scientist distinguishes between two different levels of analysis: the analysis of sensory images and the analysis of verbal images, noting that at the level of sensory cognition there is a unity of analysis and synthesis, which appears in the form of comparison, and in the transition to abstract thinking, analysis appears in the form of abstraction. Generalization is also two-level: in the form of generalization and generalization proper [ibid., p. 35].

Sharing the views of Rubinstein, we cannot but take into account the opinion of another researcher, V.P. Pushkin, who proved that in the study of productive creative thinking, the procedural side of thinking should be in the foreground. Based on the above assumptions, we considered it possible to turn in our study to the procedural side of musical thinking, which is reflected in Scheme 1.

Scheme 1. The structure of musical thinking

As we see from the presented scheme, the scientist in musical thinking distinguishes two structural levels, conventionally calling them "sensual" (I) and "rational" (II). He refers the components of emotional-volitional (No. 1) and musical performances (No. 2) to the first level.

At the same time, musical (auditory) imagination (No. 3) acts as a link between them.

The second level of musical thinking is represented by the following components: associations (No. 4); creative intuition (No. 5); logical methods of thinking, including analysis, synthesis, abstraction, generalization - group of components No. 6; musical language (No. 7).

This is a schematic expression of the structure of musical thinking as a process.

Thus, the process of thinking begins with an unconscious comparison of the sensory "memory" of past experience and the experience of new musical information.

The further success of the implementation of the cognizable process depends on the level of musical perception. Since the main function of thinking, when perceiving a piece of music, is reflection and processing of the information received, then musical thinking must receive the relevant information, operate with it, make generalizations and conclusions. One of the main components of musical thinking is the mastery of musical information. This side of it is called semantic.

The process of mastering the musical language requires the inclusion of the whole complex of musical abilities: musical memory, musical ear, sense of rhythm.

Now let's take a closer look at the structural components of musical thinking.

According to B. M. Teplov, “the perception of music is musical knowledge of the world, but emotional knowledge.” Intellectual activity is a necessary condition for the perception of music, but its content cannot be comprehended in a non-emotional way.

Emotions are part of the mental mechanisms of musical thinking. Modern science proves that emotions and feelings develop and play an extremely important role in the structure of human mental activity. Ideas about the unity of cognitive and emotional processes permeate all of Rubinstein's works. The development of intellectual emotions occurs in unity with the development of thinking. The semantic formation becomes the source of emotions, which is the main stimulus, motive in human activity, and thus emotions perform the regulatory function of activity.

P. M. Yakobson refers to intellectual emotions as a feeling of surprise, a sense of confidence, pleasure from a mental result, a desire for knowledge. Music is, first of all, an area of feelings and moods. In music, as nowhere else in the arts, emotions and thinking are closely intertwined. The process of thinking here is saturated with emotions. Musical emotions are a kind of artistic emotions, but a special kind. “In order to arouse emotion ... as something meaningful, the system of sounds called music must be reflected in an ideal image,” says Teplov, “emotion, therefore, cannot be anything but a subjective coloring of perception, ideas, ideas.” In order to evoke musical emotions, pitch relations must develop into intonation and turn into an internal subjective image. This is how the processes of perception and thinking intertwine and interact.

Like any activity, music is associated with the attitudes, needs, motives and interests of the individual. One of the leading and meaning-forming elements in it is the cognitive motive. Thus, the thought process in music and its results become the subject of emotional evaluation from the point of view of cognitive motives. These emotional characteristics in psychological science are usually called intellectual emotions. They reflect the relationship between the cognitive motive and the success or failure of mental activity.

Emotions of success (or failure), pleasure, conjecture, doubt, confidence associated with the results of mental work, in a musical way, are very important in musical activity. Emotions of pleasure are the first phase of the cognitive process. If the teacher is able to accurately and correctly direct the thought and hearing of the student, then a positive result is achieved in the development of the personality of the musician. However, the intellectual and auditory experience accumulated by students before is important.

The second phase of the musical-cognitive process is the emotion of conjecture. It is associated with solving the problem of the emergence and formation of a musical image, and in music, as a rule, there are no ready-made answers.

The need to overcome obstacles on the way to the goal is usually called the will. In psychology, will is defined as a person's conscious regulation of his behavior and activities. In musical activity (composing, performing and listening) - the will performs the functions of a goal, an incentive to action and an arbitrary regulation of actions. Volitional processes are closely connected not only with emotions, but also with thinking.

Given the close unity of volitional and emotional processes, we single them out into one component of thinking - emotional-volitional.

Let us analyze such components of musical thinking as representations, imagination, and so on. Representations are “images of objects that acted on the human senses, restored from traces preserved in the brain in the absence of these objects and phenomena, as well as an image created by the conditions of productive imagination.” .

The formation of representations, according to Teplov's theory, is based on three principles:

a) representations arise and develop in the process of activity;

b) their development requires a rich material of perceptions;

c) their “richness”, accuracy and completeness can be achieved only in the process of perception and learning. From the broader concept of “musical performances”, narrower ones should be distinguished: “musical-figurative representations”, “musical-auditory” and “musical-motor”.

Thus, musical representations are not only the ability to visualize and anticipate pitch, rhythmic and other features, but also the ability to represent musical images, as well as the activity of "auditory imagination".

Musical performances are the core of the musical imagination. Imagination is a necessary side of creative activity, in the process of which it acts in unity with thinking. A prerequisite for the high development of the imagination is its upbringing, starting from childhood, through games, studies, familiarization with art. A necessary source of imagination is the accumulation of diverse life experiences, the acquisition of knowledge and the formation of beliefs.

Creative musical imagination is, according to Teplov, "auditory" imagination, which determines its specificity. It obeys the general laws of the development of the imagination. It is characterized by involvement in the process of both musical and aesthetic and musical and artistic activities, the results of which are not only the creation of a work of musical art, but also the creation of performing and listening images.

When creating a work, the composer puts his vision of the world, his emotional mood into the music. He misses the events that excite his soul, which seem to him significant and important - not only for himself, but also for society - through the prism of his "I"; he comes from his personal life experience. The performer, on the contrary, recreates in his imagination the ideological and aesthetic position of the author, his assessment of the existing. In fact, it recreates a picture of his self-expression. By studying the era, the individual style of the pioneering artist, the performer can achieve the maximum approximation to his idea, however, in addition to recreating in his imagination the self-expression of the creator of the work, he must maintain his assessment, his ideological and aesthetic position, the presence of his own “I” in the completed work. Then the work, written not by him, becomes in the process of creation, as it were, his own. The process of creation and its “additional creation” can be separated by a significant time interval, in which case the performer puts into his performance the perception and evaluation of the work from the position of modernity, he interprets this work, considering it through the prism of today's consciousness. But, even with the same life experience, musical equipment, two people listening to the same work can understand and evaluate it in completely different ways, seeing different images in it. It depends on personal judgment and imagination. V. Beloborodova notes that “the process of perception of music can be called the process of co-creation of the listener and the composer, understanding this as empathy and internal recreation by the listener of the content of the musical work composed by the composer; empathy and recreation, which is enriched by the activity of the imagination, one's own life experience, one's feelings, associations, the inclusion of which gives the perception a subjective-creative character.

Both representations and imagination are mediated by volitional processes. In music, auditory predictive self-control is the decisive link between musical-figurative and musical-auditory representations, as types of imagination representations and their sound embodiment.

One of the main ways to create a complex musical imagery, including sound, motor, expressive-semantic, conceptual and other components are associations. Developed associativity is the most important side of musical thinking: there is a directed rather than free association, where the goal is the guiding factor (which is typical for the thought process as a whole).

Among other conditions conducive to the formation of associations in music are memory, imagination and intuition, attention and interest. Let us single out intuition from all these components as the most important of all included by a person in the process of musical thinking.

Intuition plays an important role in musical and mental activity. The degree of development of intuition enriches musical thinking and imagination. Intuition acts as one of the main mechanisms of musical thinking, providing movement from the unconscious to the conscious, and vice versa. “It is a peculiar type of thinking, when the individual links of the thinking process are carried unconsciously, and it is the result, the truth, that is most clearly realized.” . Intuition acts as a kind of "rod" on which other procedural components of musical thinking are "strung" and is conditioned by emotional responsiveness, a high level of emotional regulation, developed imagination and the ability to improvise.

The thinking process described by Rubinstein, in fact, reflects the course of logical thinking. Its components: analysis, synthesis, abstraction, generalization, comparison.

Analysis consists in the mental division of the object under study into its constituent parts and is a method for obtaining new knowledge.

Synthesis, on the contrary, is the process of combining into a single whole parts, properties, relationships, identified through analysis.

Abstraction is one of the sides, forms of cognition, which consists in a mental abstraction from a number of properties of objects and relations between them and the isolation, isolation of any property or relationship.

Generalization is the transition from singular to general, from less general to more general knowledge.

Comparison is a comparison of objects in order to identify similarities or differences between them.

Many studies deal with the operations of musical thinking - comparison, generalization, analysis. Comparison is the main method of musical thinking. Reflecting on this, Asafiev writes: “All knowledge is a comparison. The process of perceiving music is the comparison and difference of repeated and contrasting moments. In the musical form, logical patterns of several levels are manifested: firstly, the logic of connecting individual sounds and harmonies into motives, secondly, the logic of connecting motives into larger units - phrases, sentences, periods, thirdly, the logic of connecting large units of text into sections of the form, parts of the cycle and the work as a whole .

Even the musical intonations themselves are a generalization of a number of properties inherent in the sounds of reality. The means of musical expressiveness based on them (mode, rhythm, etc.) are also a generalization of pitch and temporal relations; genres, styles are a generalization of all means of expression that exist in a given era. . N. V. Goryukhina defines generalization as a sequential integration of the levels of structuring of the intonation process. Generalization collapses the process by projecting the time coordinate onto one point of the integral representation. In this the author sees a specific feature of musical thinking. . For the emergence of a generalization, it is necessary to repeatedly perceive and compare phenomena of the same kind. The sense of style speaks to the greatest extent about the formation of the generalization. The selection of stylistic similar works is a difficult task and corresponds to a rather high level of musical development.

Musical thinking is manifested not only in generalization, but also in the awareness of the structure of a musical work, the regular connection of elements, the distinction of individual details. The ability to analyze the structure of a work is also referred to as a “sense of form”. Considering it an important component of musical thinking, L. G. Dmitrieva defines it as “a complex development of a number of musical and auditory representations: elementary musical structures, means of expression, principles of composition, compositional subordination of parts of a work to a single whole and their expressive essence.” . Form analysis is based on a conscious, gradual comparison of each moment of sound with the previous one. . For the listener, deprived of the sense of form, the music does not end, but ceases. .

In the works of Medushevsky, the problems of musical thinking were considered from the point of view of the doctrine he created about the duality of the musical form: “The most striking thing about the musical form is its paradox, the combination of the incompatible in it. The laws of its sound organization are deep, wise and very precise. But in the captivating sounds of music - and the elusive charm of mystery. Therefore, the images of the musical form that appear before us, on the one hand, in the theories of harmony, polyphony, composition, in the teachings of meter and rhythm, and on the other hand, in the descriptions of the finest performance effects, in the observations of musicians, are so strikingly dissimilar. .

Medushevsky believes that it is in the intonational form that the entire experience of human communication is accumulated - “ordinary speech in its many genres, manner of movement, unique in every era and for different people .... All these untold riches are stored precisely in the intonational form - in a variety of intonations , plastic and pictorial signs, in dramatic techniques and integral types of musical drama. . That is, understanding the internal structure of a musical work and penetration into the expressive and semantic subtext of intonation makes musical thinking a full-fledged process.

Speaking of this, it is necessary to move on to the question of the relationship between the philosophical categories of form and content and consider the features of their manifestation in the art of music.

In modern science, content is considered as everything that is contained in the system: these are elements, their relationships, connections, processes, development trends.

The form has several characteristics:

- a way of external expression of content;

- the mode of existence of matter (space, time);

- internal organization of content.

buildings. This is especially true for instrumental music, vocal music without words (vocalises) - that is, non-program music (without words, without stage action), although the division of music into the so-called "pure" and program is relative.

- the origins of musical representation and expressiveness are contained in human speech. Speech with its intonations is a certain prototype of music with its musical intonations.

As for the musical form, the complexity of its perception lies in the temporary nature of existence. The composer's consciousness is able to simultaneously cover the contour of the musical form, and the listener's consciousness comprehends it after listening to the musical work, which is delayed and often requires repeated listening.

The word "form" is understood in relation to music in two senses. In a broad sense, as a set of expressive means of music (melody, rhythm, harmony, etc.), embodying its ideological and artistic content in a musical work. In a narrower sense, as a plan for the deployment of parts of a work, connected in a certain way with each other.

In a real work, the artistic meaning is manifested precisely through the form. And only thanks to close attention to the form, it is possible to comprehend the meaning, content. A piece of music is something that is heard and listened to - for some with a predominance of sensual tone, for others - intellect. Music lies and exists in unity and in the ratio of creativity, performance and "listening" through perception. “Listening, perceiving music and making it a state of their consciousness, listeners comprehend the content of the works. If they do not hear the form as a whole, they will "grab" only fragments of the content. All this is clear and simple” [ibid., pp. 332-333]

It is necessary to take into account the fact that thinking is inextricably linked with language, which is realized through speech. As you know, music is not a continuous stream of noises and overtones, but an organized system of musical sounds, subject to special rules and laws. To understand the structure of music, it is necessary to master its language. It is no coincidence that the problem of musical language is considered central in the study of the problem of musical thinking. "All forms of musical thinking are carried out on the basis of the musical language, which is a system of stable types of sound combinations along with the rules (norms) for their use" .

The musical language, like the verbal language, is built from structural units (signs) that carry a certain meaning: the sign structures include leitmotifs, melodies-symbols (for example, in Orthodoxy - “Lord have mercy”), individual turns (Schubert’s sixth - motive tenderness and sadness; Bach's descending slow second intonation is a symbol of passions, etc.) "signs of some genres (for example, the pentatonic scale among the Hungarians and Eastern peoples), cadences, as the end of musical thought, and much more.

The musical language arises, forms and develops in the course of musical, historical practice. The connection between musical thinking and musical language is deeply dialectical. The main characteristic of thinking is novelty, the main characteristic of language is relative stability. The real process of thinking always finds some existing state of the language, which is used as a base. But in this creative process of thinking, language develops, absorbs new elements and connections. On the other hand, the musical language is not an innate given, and its development is impossible without thinking.

1. Thus, the analysis of the literature on the research problem allows us to judge that:

- musical thinking is a particular kind of artistic thinking, because, like thinking in general, it is a function of the brain inherent in every person. The main thing in conveying the content of a musical work is intonation.

- musical thinking is a rethinking and generalization of life impressions, a reflection in the human mind of a musical image, which is the unity of the emotional and rational. The formation and development of students' musical thinking should be based on a deep knowledge of the laws of musical art, the internal laws of musical creativity, on understanding the most important means of expression that embody the artistic and figurative content of musical works.

2. Indicators of the development of musical thinking are:

- a system of intonation relationships and relationships characterized by the ability to establish genre, stylistic, figurative-expressive, dramatic connections both within one work and between several works of one or different authors, i.e., possession of the norms of the musical language;

- mastery of musical and artistic emotions, a high degree of emotional and volitional regulation;

- the development of the imagination;

- the development of the associative sphere.

3. Musical thinking has structure. Modern musicology distinguishes 2 structural levels: "sensual" and "rational". The first of these levels, in turn, includes components: emotional-volitional and musical representations. The second is based on components: associations, creative intuition, logical techniques. The connecting link between the two levels of musical thinking is musical (“auditory”) imagination.

Chapter II. Theoretical foundations for the development of musical thinking in schoolchildren

2.1 Psychophysiological features of the development of children of primary school age

Ya. A. Komensky, an outstanding Czech teacher, was the first to insist on strict consideration of the age characteristics of children in teaching and upbringing work. He put forward and substantiated the principle of natural conformity, according to which training and education should correspond to the age stages of development. “Everything to be assimilated should be distributed according to the stages of age so that only what is available for perception at each age is offered for study,” wrote Ya. A. Comenius. Accounting for age characteristics is one of the fundamental pedagogical principles.

According to a number of psychological indicators, primary school age can be recognized as optimal for the beginning of pedagogical guidance in the development of musical thinking.

The initial period of school life occupies the age range from 6 - 7 to 10 - 11 years (I - IV grades of the school). During this period, targeted education and upbringing of the child begins. Teaching becomes the leading activity, the way of life changes, new duties appear, and the relationship of the child with others becomes new.

Children of primary school age undergo significant changes in mental development. If, for example, it is difficult for preschoolers to imagine the experiences of another person, to see themselves in other situations due to little life experience, then at the initial stage of schooling, children have a more developed empathic ability that allows them to take the position of another, to experience with him.

At primary school age, the basic human characteristics of cognitive processes (perception, attention, memory, imagination, thinking and speech) are fixed and developed. From "natural", according to L.S. Vygotsky, these processes should become “cultural” by the end of primary school age, i.e. turn into higher mental functions associated with speech, arbitrary and mediated. This is facilitated by the main activities that a child of this age is mostly engaged in at school and at home: teaching, communication, play and work.

The elementary productive activity of a schoolchild, even in a playful form, is creativity, since the independent discovery of a subjectively new and original is inherent in a child no less than in an adult's activity. L.S. Vygotsky argued that creativity exists everywhere (and mainly where) a person imagines, combines, changes and creates something new for himself, regardless of its size and significance for society.

The psychological characteristic of creativity is that it is seen as the creation in the process of thinking and imagination of images of objects and phenomena that have not previously been encountered in the practice of children.

Creative activity manifests itself and develops in the process of direct productive (game or educational) activity.

The younger school age provides more opportunities for the formation of moral qualities and personality traits. The malleability and well-known suggestibility of schoolchildren, their gullibility, tendency to imitate, the enormous authority enjoyed by the teacher, create favorable conditions for the formation of a highly moral personality.

The most important of the tasks in the field of aesthetic education in the primary grades is the consistent and systematic enrichment of the musical experience of children, the formation of their skills in perceiving and performing music. At this age, the emotional life of children is enriched, a certain life and artistic experience is accumulated, and their speech develops to a large extent. Children feel the expressiveness of epithets and comparisons, this gives them the opportunity to share their impressions. A certain experience of communication with music is acquired. Their musical activity, realized in the performance of songs and dances, becomes diverse. The embodiment of musical and game images in motion acquires expressiveness, which gives students additional opportunities to convey their attitude to music.

The manifestations of children's musical abilities in the field of melodic hearing become more mature. Students can recognize a familiar melody, determine its character and ways of musical expression.

It should be remembered that the perception of younger students is characterized by instability and disorganization, but at the same time sharpness and freshness, “contemplative curiosity”. The attention of younger schoolchildren is involuntary, insufficiently stable, limited in scope. Thinking in elementary school children develops from emotional-figurative to abstract-logical. Children's thinking develops in conjunction with their speech. The vocabulary of the child is greatly enriched.

Memory is of great importance in the cognitive activity of the student. It is predominantly illustrative in nature. The material is unmistakably interesting, concrete, bright.

By the end of the first year of study, students level out the state of their musical training, accumulate specific knowledge and skills for various types of musical activity.

Children who have completed the second year of study, by this time, have mastered the experience of performing songs, including those with rhythmic accompaniment, and dance movements. They quite clearly define the character, tempo, dynamics, perform songs with interest both individually and in groups, they are able to analyze their singing and the singing of friends.

Studying in the third grade, children are ready for an even deeper analysis of works, expressing their impressions of the music they hear, easily determine the genre of music, navigate in simple forms, intonations. A certain level at this age reaches a musical ear, a sense of rhythm. Students show a desire for self-affirmation, so they are happy to improvise and perform other creative tasks.

Third year students are already more focused and attentive. Their memory and thinking are intensively developing, but working with them still requires a fairly frequent change in the types of musical activity, an appeal to techniques involving the use of visual teaching methods, the use of game situations.

By the end of the school year, students should master specific vocal and choral skills, perform a song repertoire with separate tasks, master the skills of two-voice singing, perceive music meaningfully, determine the genre, tempo and other ways of musical expression.

Thus, we can conclude that children of primary school age have great opportunities for their artistic and aesthetic development. With the proper organization of this activity, on the one hand, the prerequisites for the development of aesthetic feelings are laid in younger students. On the other hand, the components accompanying this process are intensively developed in them - musical ear develops, the ability to aural representation of a melody, critical analysis of heard musical works, the ability to express one's own impressions, etc.

Summarizing the above, we can conclude that at this age the whole complex of “mental building material” becomes active, which is necessary for the formation of musical thinking: sensory-perceptual activity provides rich auditory perception; motor activity allows you to live, "work out" the metro-rhythmic and, more broadly, the temporal nature of music with movements of various types and levels; emotional and expressive activity is the key to the emotional experience of music; and, finally, intellectual-volitional activity contributes both to the emergence of internal motivation and to the purposeful “going all the way” of the process of musical thinking.

The pedagogical aspect of this section is seen in the following. This period of childhood is characterized by the fact that its representatives have not yet developed a system of values. This is due to the nature of age and the peculiarity of interpersonal relations during this period: younger students are distinguished by trusting obedience to authority, faith in the truth of everything that is taught. Therefore, children easily accept other people's value orientations. A huge responsibility in shaping the mental actions of children lies with the teacher, since he, as a rule, is one of the most significant people for the student. The child accepts all his expectations and tries to live up to them. Therefore, value accents correctly placed by the teacher will further contribute to a deeper and more adequate comprehension of the meaning of musical works and their emotional consolidation.

Taking into account all the circumstances related to taking into account both the age characteristics of the child and the educational influence of the school, it should be remembered that the formation of the child's personality is not limited to the influence of the school. Expecting results from the system of school education, it is necessary to take into account the impact on the child of such factors as the level of cultural development of the family, the moral maturity of the surrounding social environment, mass media and other factors. This will be discussed in the next section.

2.2 Factors of the social environment influencing the development of children's musical thinking

It is generally accepted that the art of music was born as a result of many years of human observation of the sounds of his environment. The sounds of nature, animals, the human voice, resonating objects eventually led to their systematization and comprehension in a special musical activity. “The system of musical thinking,” according to V. Petrushin, “is formed in the social environment, in the process of people communicating with each other.” Its development is influenced by various factors of the social environment - family, inner circle (relatives, friends), music lessons in a comprehensive school, mass media and other factors. This is shown in diagram 2.

Scheme 2. Factors of the social environment influencing the formation of a child's musical thinking.

It is known that the first stage in the development of musical thinking corresponds to early childhood - up to three years. This is the time when the child is surrounded by loved ones (his family). This period is characterized by the beginning of the transition from the child's perception of musical intonation without understanding the meaning of words to the awareness of musical intonation, guided by the intonation-symbolic meaning of words. The child also exhibits a tendency to connect, on the basis of a single musical impression, various melodic formations that do not have an internal connection, bringing them into an undivided, fused sound image. “Home environment has a huge impact on human development, especially in childhood. The first years of a person's life, which are decisive for the formation, development and formation, usually pass in the family. A child is usually a fairly accurate reflection of the family in which he grows and develops. On this occasion, G. Struve writes: "Music from childhood ... How important it is when affectionate, kind music sounds at home, cheerful, sad, lyrical, dancing, but not rumbling, not frightening!" . Properly used at an early stage in the development of thinking, musical works or even individual means of musical expression largely contribute to the development of a person. Musical works corresponding to age and development are already perceived as phenomena of art. However, a long, systematic education is required so that a person can join the highest achievements of musical culture.

The second stage in the development of musical thinking coincides with the period of preschool age of children - from 3 to 7 years. On this section of the path, the child achieves musical thinking in complexes. He ceases to perceive the connection of his own musical impressions from what he hears directly. Begins to understand the actual connections and differences that exist between different musical formations. The child's mind already forms certain concepts and objectively concretizes them, begins to unite individual links of musical formations into one chain. It is in chain complexes that the objectively concrete and figurative nature of children's musical thinking is clearly manifested. Most children of this age attend preschool institutions, where the development of musical thinking continues. Now it is formed not only by family members, but also by musical directors. “Where musical and educational work is well organized, children from an early age ... sing, play and listen to various musical works, getting acquainted with the main genres - songs, dances and marches, or, as D. Kabalevsky figuratively called them, “three pillars” music. At the same time, children are gradually getting used to different performing composition, accustomed to the stylistic diversity of music. .

The third stage coincides with the child's entry into school.

In our time, in the age of radio and television, tape recorders and music centers, the possibilities of independent involvement in listening to music are very favorable. “For the listener of the beginning of the 20th century, the evening philharmonic concert was, if not the only, then the main “dose” of music sounding for him during the day. Today's music lover, plus the same concert, receives music on radio, television, in the cinema ... ". The development and ubiquity of sound recording created the prerequisites for the "total musicalization" of the environment. Music sounds today in cafes and discotheques, in the gym and on the beach, in the car and cinema, in every home and, of course, in any theater, and sometimes just on the street.

Music has become practically accessible to "everyone, every person on the globe." The development of musical thinking is greatly influenced by all means of communication, replete with entertaining music, which is mostly base. “When there is too much entertaining music, and even more so, of course, when it is bad, it has the ability to stupefy a person’s consciousness,” writes D. Kabalevsky. [ibid, p.103]. That is why the school (namely, a music lesson) should help children understand the complex interweaving of various phenomena of modern musical life.

The spectrum of sounding music is diverse. This is classical, and popular, and folk, and experimental. As well as jazz, rock, disco, electronic, brass music... The works of all spheres of musical culture without exception are isolated from their organic conditions of existence, and are included in the creation of a single musical environment. “Of course, it is quite natural to love good, truly artistic light music, in which there is brilliance, wit, youthful enthusiasm, a sense of the joy of life. There are such moments in a person’s life, especially a young one, when you want to have fun, spin in a dance, put aside thoughts about serious matters for a while. .

So, for the development of musical thinking, it is necessary to perceive music of different genres: “What is brought up in a person’s personality in the process of communicating with music of one plane, probably cannot be replaced and compensated by the music of another, just as the need for solitude cannot be filled and replaced. need for communication and vice versa. The feelings of a developed person must be able to dissolve in a socially valuable collective experience, and at the same time be able to manifest themselves in individual experience and reflection, when a person is left alone with his conscience. But if the musical and educational process is not sufficiently organized, then some of the listeners come to an exaggerated passion for entertaining music. As a result, the process of formation of musical thinking is disrupted. Therefore, it is so important to help the young listener in the formation of his musical thinking, so that he retains an interest in the best examples of folk and professional musical creativity. A. Sohor in his works outlined an important task of musical educational activity: “to overcome the one-sidedness of the musical needs and interests of those audience groups that are attracted to music only by one of its functions (say, entertainment) ...”. For a modern student, entertainment music is a special worldview, so it is the music lesson that is of decisive importance in creating balanced views on classical music and music of entertainment genres. In order for highly artistic works to become the property of a child, it is necessary that they be an integral part of their musical and auditory experience, their way of life.

The main task of musical education at school is to arouse in children an interest and love for music, to educate students in "musical literacy". If this goal is achieved, then the knowledge gained by students will be enough to continue musical self-education and self-education. In this context, the words of B. V. Asafiev are very relevant and appropriate: “... if you look at music as a subject of school education, then, first of all, you must categorically avert questions of musicology in this case and say: music is art, i.e. e. a certain phenomenon in the world created by man, and not a scientific discipline that is taught and studied.

The goal of musical education in a comprehensive school, depending on the stages of development of our society, was different - to instill a love for music; learn to listen and understand it; to form the musical culture of schoolchildren as part of their general spiritual culture. However, at all stages, the basis of all these processes is artistic, musical thinking, without the development of which it is impossible to carry out any of the listed tasks.

And today, to solve the problem of musical education of younger schoolchildren, the teacher is offered a choice of approaches from different authors, among which are Yu.B. Aliev, D.B. Kabalevsky, N.A. Terentyeva, V.O. Usacheva, L.V. Shkolyar and others. All of them embodied their concepts of musical education of schoolchildren in specific curricula. Despite the fact that they embody different approaches to the comprehension of musical art, they are all focused on the development of the musical thinking of schoolchildren.

Introducing schoolchildren to the art of music in music lessons goes through acquaintance with the elements of the musical language, which is based on intonation, motive, melody, mode, harmony, timbre, etc. Introducing children to the themes of musical works, helping them to understand musical images, their musical form, genres and styles, the teacher thereby helps them to comprehend the spiritual values of the theme, musical image, musical form, genres, styles. The teacher helps the child to comprehend the spiritual values inherent in musical works, to form their taste, needs, worldview and musical thinking. All listed elements of the musical language are the initial group of the category of musical thinking.

In elementary school, the lesson naturally includes all types of musical and performing activities - singing, perception, elements of dance movements, playing children's musical instruments.

Concepts of Yu.B. Alieva and D.B. Kabalevsky are a joint musical and creative activity of a teacher and a student, developing in various forms of communication with music, aimed at revealing universal human values in music and, on this basis, self-knowledge and self-creation as a person.

Thus, taking into account all the circumstances related to taking into account the age characteristics of the child, the educational influence of the school, we can say that it is also necessary to take into account the indirect formative impact on the child of such factors as the level of cultural development of the family, the moral maturity of the social environment surrounding him, and also the direct influence of mass media.

2.3 Basic principles of interaction between a child and a teacher in the space of music

Effective management of the development of musical thinking is possible on the basis of a personal approach, provided with adequate content and methods of music education.

In the words of L.S. Vygotsky, - the formation of personality is due to human communication. A person has his own interests, desires, needs, he wants to prove himself in life, to fulfill himself, to assert himself. It is impossible to do this without direct or indirect access to the surrounding people, to society. Activity is a comprehensive form of personality functioning, constantly becoming more complex and changing under the influence of its activity and socio-pedagogical factors.

Arising as a “social process” performed in the conditions of a human collective, activity, as Leontiev points out, presupposes not only the actions of a single person, but also allows for their joint nature.

According to K.K. Platonov, joint activity is a type of group activity in which the actions of its participants are subordinated to a common goal. This is a conscious interaction of two or more people in the process of joint achievement of a common goal in work, play, learning, education.

A person can only be accomplished through interaction with other people, participating in the life of society and, in this way, assimilating social experience. Like any other specifically human activity, educational activity in its essence consists in introducing the younger generation to the accumulated experience of transforming the surrounding reality, interacting with other people.

The specificity of the phenomenon of activity as a pedagogical phenomenon lies in the fact that in the organized educational process there are two social subjects - teachers and students, which predetermines its joint nature.

In the conditions of joint activity, the goal as an image of the future result becomes the property of each person, acquiring a different personal meaning. Personal meaning is understood as a subjective attitude to events and phenomena, experienced in the form of interest, desire or emotions.

An obligatory component of joint activity is a direct motivating force, a common motive. Joint activity is a unity of two sides: joint impact on the common object of labor, as well as the impact of participants on each other.

The structure of joint activities is completed by the overall end result, which consists of operational assessments and control of both current and final results.

An analysis of the works of philosophers and sociologists allowed us to identify the goals, distinctive characteristics, the essence of joint activities in music classes and come close to substantiating the basic principles of teacher-student interactions, which are impossible without referring to the achievements of pedagogical psychology.

For our study, the approach of A.B. Orlov, who formulates four interconnected principles of organizing pedagogical interaction, which contribute not only to the transfer of knowledge, skills and abilities from teacher to students, but also to their joint personal growth, mutual creative development. Let us consider in more detail the principles proposed by the scientist, since they are the most productive for the interaction between a teacher and a student in the space of music.

The first principle - "dialogization" of pedagogical interaction is defined as the leading one, since personality-oriented learning is not possible without it. The dialogue is based on the equality of communication partners, emotional openness and trust in another person. Dialogue as a type of cooperation creates a new type of cognitive development, which is characterized by an increase in the level of motivation for learning activities, and most importantly - mental neoplasms of the personality of students: changes in memory, thinking and speech. Joint actions allow each side - both the teacher and the student - to be fundamentally equal to each other, and turn the learning process into a genuine dialogue related to self-improvement. Self-development and self-education here become an integral part of educational activities.

The second principle - "problematization" means the creation of conditions for self-discovery and comprehension by students of cognitive tasks and problems. The student operates with factual material in such a way as to obtain new information from it. The teacher should not transfer ready-made knowledge, but methodological recommendations for obtaining it.

The third principle - "personification" - the principle of organization of personality-oriented pedagogical interaction. This principle requires greater self-acceptance of a person, the rejection of role masks and the inclusion in the interaction of such elements of personal experience (feelings, experiences, emotions and actions and actions consistent with them) of the teacher and students that do not harmonize with role expectations and standards.

The fourth principle is the "individualization" of pedagogical interaction. This principle means the identification and cultivation in each student of individually specific elements of giftedness, the development of such content and teaching methods that were adequate to the age and individual personality characteristics of all pupils.

As a result of the principles of pedagogical interaction, the creativity of the teacher and the child is formed in the space of music.

Pedagogical management of the creative musical process is interpreted as a means of pedagogical regulation of productive activity, which is carried out indirectly, in a hidden form, with the help of emotional impact, in order to create a creative microclimate, organizing problem situations in the course of improvisation and communication between the teacher and the group of students in musical and creative activity.

Improvisation in the process of musical activity helps the child independently solve rather complex creative tasks, allows you to establish emotional contact with music, learn and assimilate it more deeply, and contributes to the emotional self-expression of the child. Musical improvisation in childhood is a special kind of elementary creativity, in which children's creative possibilities are most fully revealed, the elementary abilities of the composer and performer are combined into a single process.

In improvisational activity, not only the result (composed melody, intonation) is important, but also the direct creative process in which abilities develop and the creative qualities of the individual are formed.

Introducing students to musical improvisation and consolidating basic creative knowledge and skills is a complex multi-level activity. Modern music pedagogy conditionally divides it into four levels (from the simplest to the most complex):

I level - the level of "co-creative activity". Its main goal is the accumulation of musical impressions and listening experience for creative activity. Here there is an elementary development of musical abilities, intonation, rhythmic, harmonic hearing and the accumulation of emotional and musical experience.

Level II - elementary collective-individual creativity. At this level, elementary improvisation is carried out in the joint creative activity of the teacher and students. Collective-individual creativity is most successfully carried out in a question-answer form in three types of musical improvisation: rhythmic, vocal, instrumental.

III level - collective music making. The fundamental system of elementary music-making was developed and implemented by the German musician-teacher Karl Orff. Through instrumental and vocal-instrumental elementary collective music-making is carried out.

IV high level - individual creativity, composition.

The use of discussion, game, problematic, training methods of mastering pedagogical experience encourages children to interpersonal interactions with the teacher and among themselves, where the “school of memory” gives way to the “school of thinking”.

To build a situation of joint musical productive activity, it is necessary to take into account that there are always two components in the interaction - style and content.

The direction of the teacher's activity determines the style of his leadership. If domination is characterized by methods of subordination (instructions, threat, dictate, punishment, violence), rivalry is characterized by methods of struggle (challenge, dispute, discussion, competition, confrontation, competition, fight), then cooperation is typical of methods of cooperation, mutual assistance (advice , recommendation, proposal, request, discussion, material and spiritual exchange, mutual assistance).

One of the conditions for fruitful pedagogical interaction is the presence of a positive emotional mood, trust, self-respect, ensuring a certain equality of positions of the teacher and student, their cooperation.

Thus, joint activity in music lessons is understood as an organized process of interaction between a teacher and students as subjects united by a common goal, meaning, and ways to achieve results. Orlov's principles of personality-oriented pedagogical interaction were taken as a basis: dialogization, problematization, personification, individualization. The joint activity of a teacher and a student today acts as a social order of society that most fully meets the needs of people of our time and reflects the full depth of transformations in the spiritual and social sphere of the Russian education system.

Below, in the form of an abstract, thesis generalization, the results of the content of the second chapter are summed up:

In educational work, it is necessary to take into account the age characteristics of children. The foundations of moral behavior are laid in elementary school. Thinking in elementary school children develops from emotional-figurative to abstract-logical. “A child thinks in forms, colors, sounds, sensations in general” (K.D. Ushinsky). Hence the main task of elementary school is to raise the child's thinking to a qualitatively new stage, to develop the intellect to the level of understanding cause-and-effect relationships.

Musical thinking is formed under the influence of the social environment. Among the main factors influencing its formation are the family, the inner circle (relatives, friends), means of individual and mass communication. The family and the immediate environment have the greatest influence on the development of musical thinking, since it is they who lay the foundations for intonation sensitivity, musical thinking, hearing, etc., which creates the prerequisites for subsequent development in music lessons.

The development of musical thinking requires effective leadership based on a personal approach, provided with adequate content and principles of music education. Interpersonal interactions between teachers and students should be based on trust, respect, recognition of the legitimacy of the opinions, positions and views of students in solving important educational problems. When organizing optimal pedagogical interaction in a music lesson, it is necessary to strive for students to become “accomplices, and not just present, because only then is it possible to realize creative tasks” in the process of education and upbringing. .

In view of the above, we organized experimental work with younger students to develop their musical thinking. It is described in the next chapter.

Chapter 3

3.1 Criteria for the development of musical thinking of younger students and its diagnosis at the stage of ascertaining experiment

On the basis of the above analysis of scientific and theoretical works on the problem of the development of creative thinking in younger schoolchildren, we organized an experimental study. The experiment involved two groups of children of this age category, each consisting of 10 and 12 people, respectively. General education school No. 3 in Khanty-Mansiysk was chosen as the basis for conducting the pilot study.

In accordance with the purpose of the experimental work, we made an attempt to develop pedagogical ways of developing the creative musical thinking of younger students in the context of music lessons.

When implementing the experimental program, we took into account that the musical thinking of a child of 6–11 years old, in the process of perceiving life or artistic phenomena, including works of art, is mainly capable of intensively changing and forming.

Therefore, at the initial stage of the development of thinking, before the next listening or viewing of a particular work of art, we relied on a clear and accessible word (taken from an artistic or poetic text), which contains a certain image, similar to the image of a subsequent work of art.

As criteria for the development of children's musical thinking in our study, the following were chosen:

1) the volume of the musical-intonational dictionary;

2) the ability to establish genre, stylistic, figurative-expressive, dramatic connections both within one work and between several works by one or different authors, i.e., mastery of the norms of the musical language;

3) a high degree of emotional-volitional regulation;

4) the presence of a sense of musical form;

5) the degree of development of analytical experience, the adequacy of the perception of musical works;

6) the maturity of musical-figurative associations and the degree of their correspondence to the content of music.

The methodology for diagnosing children according to these criteria is given below.

In total, for the purpose of diagnosing students, two classes were held. On each of them, the children performed tasks, with the help of which we were able to identify the level of formation of qualities in students, generalized by their criterion characteristics.

Diagnostic measurements for each of the above criteria were carried out using specially developed methods. So, to determine whether children have a sense of musical form, a number of methods were used, the essence of which is described below.

So, during the diagnosing the feeling of musical form we used the test game "Incomplete Melody", the purpose of which was to identify the level of development of a sense of completeness (integrity) of musical thought. In this case, the child was given introductory information of the following content:

- Now the melodies will be "hidden": some of them will sound in full, while others will not. Listen, and try to determine which melody sounds to the end, and which one “hid” ahead of time?

First, they gave a trial version, in which we had to make sure that the child correctly understood the instructions. After tuning in the key, a melody known to the child was performed. In our case, it was “A Christmas tree was born in the forest”, in which the last sound was not played out, but was interrupted by the words “would be green ...”.

As samples of melodies, i.e. Five melodies were selected as stimulating material:

1) D. Kabalevsky "Running".

2) V. Shainsky "We divide everything in half."

3) I. Kalman "Waltz".

4) Belarusian folk song "Savka and Grishka".

5) T. Popotenko “Gift to Mom”.

The use of these samples of stimulating material was carried out in the following order: in the 1st melody, the last measure was not played out, the 2nd melody was played to the end, in the 3rd melody, the last phrase of the melody was not played out, the 4th melody, consisting of 4 phrases, interrupted in the middle of the second, the 5th melody was played to the end. The child was awarded 1 point for each correct answer.

Thus, the following indicators served as evaluation criteria:

- those children whose answers correctly identified 1-2 points out of 5 were classified as a weak level of development of musical thinking.

– the recipients who correctly identified 3–4 points corresponded to the average level.

- all those children who correctly identified all five points were classified as a high level.

In order to objectively assess students according to the specified parameters, we used method "Musical and life associations". It made it possible to reveal the level of perception of music by schoolchildren from various positions: it made it possible to judge the direction of musical-figurative associations, the degree of their correspondence to the musical-life content, revealed emotional responsiveness to the music heard, and the reliance of perception on musical patterns. The music selected for this purpose contained several images, the degree of contrast of which was different. At the same time, one condition was observed: the music was not familiar to the children. Mozart's Fantasia in d-moll was used as a stimulating material, but without an introduction - the first three fragments.

The sound of music was preceded by a confidential conversation between the teacher and the children in order to adjust their perception. It was a conversation about the fact that music accompanies a person’s whole life, it can recall events that happened before, evoke feelings that we already experienced, help a person in a life situation - calm, support, cheer. Then they were asked to listen to music and answer the following questions:

– What memories did this music evoke in you, with what events in your life could it be connected?

- Where in life could this music sound and how could it affect people?

– What in music allowed you to come to such conclusions (meaning what the music tells about and how it tells, what are its expressive means in each individual work)?

The processing of the results was carried out according to the following parameters: the accuracy of the musical characteristics, the development and artistry of associations, the emotional coloring of the answers. Particular attention was paid to the direction of children's thinking: from the general to the particular - from the figurative content of music to expressive means, elements of language, genre, style, etc.

Next technique - "Choose music" was devoted to identifying the possibilities of children in determining related music in content. With its help, we tried to determine how reasonably children can, when comparing 3 fragments, find consonant in content.

The proposed music was similar in appearance: the similarity of texture, sound dynamics, elements of musical speech, the composition of performers, instruments, etc. The difficulty of the technique was that the works did not contrast with each other.

As a stimulating material, students were offered the following works:

1) P. Tchaikovsky "Barcarolle".

2) F. Chopin "Nocturne b-moll".

3) F. Chopin "Nocturne f-moll".

The complexity of this technique lay in the fact that all three fragments had much in common, formally they were musical statements on the same topic. They were united by a calm pace, lyricism of the content - thoughtfulness, self-absorption.

After listening, the schoolchildren determined which works are related in terms of the "spirit" of music, according to the musical-figurative structure.

The tasks also included a conversation, during which the children told how they identified such a community.

This technique made it possible to reveal how much the children were imbued with the “sense of music”. The main task of the technique is to reveal what all the children evaluated - either their own emotions caused by music, or simply expressive means, divorced from life content. Children's reliance only on means testified to a low level of perception; the reliance of schoolchildren only on their emotions, we defined as the average level. The highest level was considered to be the establishment of a relationship between one's emotions and the sounding music, i.e. achieving a situation where the child could tell quite meaningfully about why he had these particular emotions, and not others.

The results of the diagnostics, after appropriate generalization and processing, were brought to a statistical form, which is reflected in Table No. 1.

Table number 1.

Distribution of students from the EG and CG into groups with different levels of development of musical thinking at the stage of ascertaining experiment N 1 (EG) = 10 N 2 (CG) = 12

As can be seen from the table, at the stage of the first diagnostic section (stating experiment), according to the test results, only 20% of children from the EG were included in the group with a high level of development of musical thinking. The second (middle) level corresponded to 30% of children from the EG. Half of the children (50%) who took part in the testing showed belonging to the third group with a low level of development of the studied quality.

Testing of CG children gave approximately the same results. The qualitative characteristics of the indicators here are as follows - 25%, 33% and 42%, respectively, in each group of children.

In order to obtain better results, we organized experimental work. The next section is devoted to its description.

3.2 Forms and methods of work on the development of musical thinking of younger students in music lessons

The results of the initial diagnostics of the level of development of musical thinking of younger schoolchildren showed that in children of this age category this quality is not sufficiently developed (only 20-30% of students are at a high level in both groups). This indicates an underdeveloped sense of musical form, incomplete awareness of the images of a musical work by children, with an underdevelopment of the emotional and musical experience of children.

The objectives of the experiment required the development of a special program of corrective influence on students in order to change the situation. The period of primary school age is sensitive for the development of musical thinking. At this time, young schoolchildren seek to satisfy their increased need for creativity. It seems that it is precisely these features that must, first of all, be borne in mind in order to involve schoolchildren in creative activity.

When conducting experimental classes, we took into account that children have the most developed emotional-figurative thinking, therefore, the implementation of artistic-figurative musical thinking is a creative act, that is, introducing something new into the world, which may not even exist before. This necessitated the development of children's musical thinking to the level of their understanding of cause-and-effect relationships. The basis for the formation of the ability to link individual disparate musical impressions into a coherent picture of musical art and the child's creative manifestation in music is created by the volume of musical thinking, which we consider from the point of view of the development of the students' musical intonation vocabulary. Indeed, if a child does not have “words” (“fragments of music”) in his intonational vocabulary, then, of course, he cannot follow the appearance of new intonations in a work, compare, etc. Therefore, the task of accumulating an intonational vocabulary among younger schoolchildren, and especially the representation and consolidation of “memorable moments” from classical works in it, seems to us very relevant and timely.

It should be noted that a child of primary school age is not always able to perceive music adequately, and even more so adequately respond to the expressiveness of individual musical elements.

Therefore, at the initial stage of the development of thinking, before the next listening or viewing of a particular work of art, it is advisable for the teacher to give students support in a clear and accessible word (taken from a literary or poetic text), which contains a certain image, similar to the image of the subsequent work of art.

Thanks to this basis, the thinking of a younger student receives a kind of stimulus to action. In this regard, it becomes very obvious that the younger student (especially at the initial stage of development of musical thinking) better perceives music with text (songs) or program music, which aims to evoke certain pictures and events in the mind of the listener, being for this blessed material.

The emphasis on classical music is not accidental. The experience of many music teachers in recent years shows that already in elementary school, classical works such as "Marmot" by L. V. Beethoven, "Aria of Susanin" by M. I. Glinka, "Waltz" from the ballet "Sleeping Beauty" by P. I. Tchaikovsky, "Morning" by E. Grieg and others can become favorite among students.

Musical creativity is an important didactic principle in music programs for secondary schools developed under the direction of D. B. Kabalevsky. “All forms of music lessons should contribute to the creative development of students, i.e. develop in them the desire for independent thinking, for the manifestation of their own initiative.

Highlighting four types of activities in the educational musical process (listening to music, choral singing, singing from notes and improvisation), G. S. Rigina in the book "Music Lessons in Primary School" examines the pedagogical foundations of each type, comprehensively solving serious, urgent problems of musical pedagogy. G.S. Rigana developed a system of music lessons in elementary grades, methodically revealing the structure of each lesson, focusing on the development of the child's creative potential and the importance of using musical improvisation from the first grade.

To conduct a further experiment aimed at developing the musical thinking of children, we needed additional classes with children from the EG.

In the course of such classes, we believed that the development of children's musical thinking will proceed most successfully through the comprehension of the means of musical expression independently and intuitively found by the child in the process of musical improvisation.

In this regard, we have developed a system of musical and creative tasks, which included all types of musical improvisation: rhythmic, vocal, instrumental, vocal-instrumental. The musical and literary material for improvisation was selected from folk and children's folklore in accordance with the unified theme of the entire lesson.

The main goal of musical and creative classes was:

Enrichment of the musical, creative and cognitive experience of children;

Expansion of musical horizons, deeper penetration into the process of musical creativity and the content of musical works;

Formation of the ability for productive thinking, imagination, fantasy, intuition, musical and auditory representations.

Task 1 aimed children at completing the melody. The students played a small work until the middle, and then they completed it on their own. In order to build their compositional proposals, schoolchildren were forced to pay close attention to artistic details, to think about the nature of what they heard, to comprehend the logic of its development. In conclusion, they compared the version they found with the author's interpretation.

The principle of the following tasks is from a specific aspect of the topic to the comprehension of its artistic integrity and multidimensionality, i.e. from the particular to the general.

Task 2 involved the selection of sounds omitted in the melody, the composition of undertones to the song, the melody of the play, the transfer of various human feelings in musical intonations (sadness, fear, joy, heroism, delight, jubilation, etc.).

Task 3 implied improvisation-fantasy to develop a sense of artistic forms (imitation, imitation, selection).

The next creative task was offered to students in order to comprehend the means of artistic expression.

Thus, task 4 provided for the transmission of the rhythmic pattern of a saying, tongue twister, saying on percussion instruments or with claps.

The process of activating creativity in music lessons depends on the teacher's attitude to creativity in all forms accessible to the child.

Interdisciplinary connections were used in the construction of creative tasks. Improvisation was built on the basis of creating a certain mood in students. In the classroom, as a preparatory stage, such an emotionally imaginative situation acted in the form of a role-playing game. Musical didactic games combined all types of musical activities: singing, listening, moving to music, playing children's instruments, vocal, rhythmic and instrumental improvisation.

In the process of experimental and pedagogical activity, we have developed a special program for the development of children's musical thinking.

Such a program included the presence of the following stages in the development of musical thinking in younger students:

Initial acquaintance of listeners with a piece of music.

Detailed understanding of musical and artistic representations (musical image), based on the establishment of analogies between the means of musical expression, which create a certain musical flavor. This is reflected in the utterances of children oriented toward more characteristic elements of the musical language. At this stage, the following activities were carried out: listening to musical works, talking about the music they listened to, analyzing it, and creative improvisation on a given topic.

The results of experimental work have shown that the most concrete, figurative representations arise in children when perceiving musical works related to samples of program music. But, in this case, their imagination is limited, while when listening to musical samples related to non-program music, children capture not only the general mood of the play, but also a variety of figurative representations.

Creative tasks were built on the principle of contrast. Improvisation at the lessons was carried out by the following methods: question-answer, melodization of a poetic text, deployment and completion of melodic turns, selection of rhythmic accompaniment, musical dialogues. At the same time, the children mastered the basic musical concepts.

In rhythmic improvisation, a variety of claps, slaps on the knees, and emphasis on strong beats were used. The variety of children's improvisations was also facilitated by the use of children's percussion instruments: wooden sticks, spoons, rattles, triangles, hand drums, rattles, bells.

Instrumental improvisations were carried out in combination with rhythmic and vocal ones. As a preparatory stage, setting up children for the creative process, there was an emotional-figurative situation that encouraged children to search for an adequate solution. This situation contained a question, the answer to which the children themselves had to find. The main point here was not just a verbal statement of the question, but the creation of an emotional-"question" atmosphere, which activated the child's creative potential to solve a figurative "answer".

Improvisation in the classroom was carried out by the following methods: question-answer, melodization of a poetic text, deployment and completion of melodic turns, selection of rhythmic accompaniment, musical dialogues, staging. At the same time, the children mastered the basic musical concepts.

As noted in the second chapter, creativity is seen as the creation in the process of thinking and imagination of images of objects and phenomena that have not previously been encountered in the practice of children and is characterized by high productivity.

After conducting lessons according to the specified methodology, a second assessment was made of the level of development of musical thinking of younger students. The results obtained are reflected in table No. 2.

Table number 2

Distribution of students from the EG and CG by groups with different levels of development of musical thinking at the stage of re-diagnosing N 1 (EG) = 10 N 2 (CG) = 12

As you can see, after the introduction of the technology we proposed into the educational process, the level of development of musical thinking has increased significantly. So, out of 10 students of the experimental group (EG), 60% were classified as high level, 20% of children remained at the middle and low levels.

3.3 The results of experimental work on the development of musical thinking of younger students

Comparing the initial and final results of the level of development of students of musical thinking, in the process of experimental work, it is possible to identify the dynamics of growth. The results of such a comparison in the experimental group are shown in Table No. 3:

Table number 3.

Levels of development of musical thinking of junior schoolchildren from the EG. N(EG) = 10

Baseline			End level
Level	Abs.	%	Level	Abs.	%
High	2	20	High	6	60
Average	3	30	Average	2	20
Short	5	50	Short	2	20

The data obtained during the pedagogical experiment allow us to draw the following conclusions:

1. Figurative comprehension by younger students of musical works related to samples of non-program music has its own specifics. It is due to the fact that students were offered works without a program name, i.e. no direction was planned along which the listener's thinking would move when perceiving this piece of music.

2. At the initial stage, the development of musical thinking of younger students took place under the following conditions:

- combinations of listening to music with its subsequent verbal characteristics;

- stage-by-stage auditory comprehension by younger students of a musical and artistic image, which provided for the holistic formation of this image in the mind of the listener on the basis of primary auditory ideas through their subsequent emotional experience and detailed understanding by establishing analogies between the means of musical expressiveness that create a certain musical flavor.

3. The conducted experimental work confirmed the legitimacy of the chosen path for the development of musical thinking of younger students. At the same time, the leading activities were: listening to musical works, conducting conversations about the music heard, analyzing it, using creative improvisation in its varieties. The dynamics of growth in the development of the level of musical thinking was 40%, which is reflected in Table 3.

Conclusion

The phenomenon of musical thinking is a complex mental cognitive process, which consists in rethinking and generalizing life impressions, reflecting a musical image in the human mind, which is the unity of the emotional and rational.

Based on the analysis of the literature on the research problem, we have identified the characteristic features of the concept of "musical thinking":

- musical thinking is a special kind of artistic thinking, because, like thinking in general, it is a function of the brain inherent in every person;

- musical thinking is carried out with the help of mental operations: analysis, synthesis, comparison, generalization;

- musical thinking is creative;

- it manifests the specific properties of music.

The formation and development of students' musical thinking should be based on a deep knowledge of the laws of musical art, the internal laws of musical creativity, on understanding the most important means of expression that embody the artistic and figurative content of musical works. A music teacher, organizing the process of developing the musical thinking of schoolchildren, should rely on his previous experience, memories, and ideas received. It is thinking that helps a person to navigate the situation and solve problems without directly connecting other practical actions.

Musical thinking has structure. Modern musicology distinguishes 2 structural levels: "sensual" and "rational". The first of these levels, in turn, includes components: emotional-volitional and musical representations. The second is based on components: associations, creative intuition, logical techniques. The connecting link between the two levels of musical thinking is musical (“auditory”) imagination. Therefore, the basis of the content in the development of musical thinking in children in a general education school is the active perception (listening) of musical material, elementary music making, writing practice, involvement in situations of creating figurative representations, improvisation, solving creative tasks based on inclusion in game forms of activity and artistic communication. . Analyzing various approaches to the study of musical thinking, we have identified the following as indicators of the development of musical thinking:

- the volume of the musical-intonation dictionary - an oral dictionary compiled by each person from the most “speaking to him”, “lying by ear” fragments of music, intoned aloud or to himself;

- a system of intonational relationships and relationships, characterized by the ability to establish genre, stylistic, figurative-expressive, dramatic connections both within one work and between several works of one or different authors, i.e., possession of the norms of the musical language;

- creation.

To increase the effectiveness of the development of musical thinking of younger students, we offer a program developed by us. The first phase of this program is connected with the enrichment of the musical-intonational vocabulary of schoolchildren. The second phase of the program involves a detailed understanding of their musical and artistic performances through creative tasks that include improvisation in its various forms. In the course of experimental work, we determined the most effective forms, methods and pedagogical conditions for organizing educational activities in music lessons to activate the musical thinking of younger students, and also tested the effectiveness of the methodology for developing musical thinking in the process of experimental research.

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